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COPYRIGHT DEPOSm 



PEACH BLOOM 



PEACH BLOOM 

AN ORIGINAL PLAY IN FOUR ACTS 



BY 

NORTHROP MORSE 



1913 

SOCIOLOGICAL FUND 

MEDICAL REVIEW OF REVIEWS 

NEW YORK 



T6 'i^^l 
11 « 3 



Dnil'^'' 



Copyright, 1913, 
By Northrop Morse 



All rights of republication, translation or 
production reserved by the Author. 

Application for the right of performing 
this play, whether professional or amateur, 
must be made to the . Author, Northrop 
Morse, Gray Rocks, Amherst, Massa- 
chusetts. 

DEC 24 1913 






„, Dedicated 

v'^ TO 

THE UNNUMBERED THOUSANDS 
OF GIRLS WHO HAVE SUFFERED 
THROUGH IGNORANCE 



CAST OF CHARACTERS 

Eric Hamilton. 
Professor Miles Morris. 
" GussiE Flint." 
Edwards, a Butler. 
JuRGEN, a Footman. 
Peter, a '' DoormanJ^ 
Francis, a Footman. 
A Policeman. 

HiLDEGARDE MORRIS. 

Mrs. Morris, " Jinny." 

RosiE. 

" Madame." 

Mrs. Oakes. 

Mrs. Walter Prescott, " Laura." 

Dolly. 

Kitty. 

Eva, a Maid. 



SYNOPSIS OF SCENES 
Act One 

Scene I: — The Library of the Prescotts' city 
home. Mid-afternoon in April. 

Scene II : — The street outside '' Madame's " 
house. Immediately following the preced- 
ing scene. 

Act Two 

Scene: — The sitting-room of a suite in Ma- 
dame's house. Two minutes have elapsed. 

Act Three 
Scene: — The same room as in Act Two. Mid- 
night of the following day. 

Act Four 
Scene: — Living-room of the Morrises at Clar- 
endon, a country college town. 
Four o'clock in the afternoon of a mid-May 
day, almost a month later. 

The play opens in a typical large American city. 

Time: — Today. 



ACT I 

Scene I 

The library of the Prescotts' ; a large luxurious 
room of a city home, revealing owners of 
wealth and cultivated taste, who use it as a 
living-room. Fine books, etchings, rugs, a 
great carved mantel, beautiful doors and wood- 
work give it distinction. An open fire is burn- 
ing. Opposite are two entrance doors, and a 
large window at the right looks towards the 
street. 

Mrs. Morris comes in in handsome street cos- 
tume. She is about forty, sweet-faced and ma- 
ternal. She is of assured social class and edu- 
cation, but has just that air of one who has left 
the city many years ago. She lays aside her 
coat. 

(Edwards, the Butler, comes in bringing a 
newspaper.^ 

Edwards 
The afternoon paper, Madame. 



2 PEACH BLOOM 

Mrs. Morris 

( Taking it) Thank you, Edwards. Have 
Mrs. Prescott and my daughter got back yet? 

Edwards 

No, Madame, but there's the bell now. 

Mrs. Morris takes up the paper and begins 
to read the front page eagerly, Mrs. Pres- 
cott enters in a moment; she is a year or so 
Mrs. Morris's senior, of the same assured 
social class and upbringing , but is metropol- 
itan to her finger tips. She is in street cos- 
tume, but has already removed her hat, etc., 
before coming in. 

Mrs. Prescott 

Well Jinny, had a fine time with the rest of 
your shopping? 

Mrs. Morris 

I certainly did revel in the shops again! . . . 
Laura, here are two columns more about that 
young girl who disappeared a month ago. I 
don't see how a girl out of such a family, so 
carefully brought up and guarded, can vanish! 
... I suppose Hildegarde went upstairs just 
now? 



ACT I 3 

Mrs. Prescott 
Hlldegarde ? I didn't see her. 

Mrs. Morris 
But she came back with you, Laura. 

Mrs. Prescott 
{Showing great surprise) With me, Jinny? 
I left your daughter with you at that silk counter. 

Mrs. Morris 
What ! Then she hasn't been with either of us 
since we separated to finish our errands! I 
looked up after you left and she was gone; I 
thought of course with you. What has become 
of her? 

Mrs. Prescott 
You're not going to be the nervous mother? 

Mrs. Morris 
I've some reason to be. 

Mrs. Prescott 

Yes, dear cousin, If she were a Pekinese lap 
dog ! But you can't stuff your Hlldegarde into a 
handbag and run off with her! 



4 PEACH BLOOM 

Mrs. Morris 
{Rising) Laura Prescott! . . . But Hllde- 
garde is a young girl, entirely unused to the city, 
— and ignorant. 

Mrs. Prescott 
Ignorant? 

Mrs. Morris 
Innocent then. 

Mrs. Prescott 
I'm glad, — a girl like that is safe in her inno- 
cence. 

Mrs. Morris 
I'll go right over to the store now. 

Mrs. Prescott 
I'll telephone too, — just to reassure you — 

Mrs. Morris 
{Taking tip her coat) And when I come back 
there's something I want to talk to you about, 
Laura, — whether it's best to keep Hildegarde so 
very innocent. 

The door opens and HiLDEGARDE comes run- 
ning in, radiant. She is seventeen years old, 
a very pretty, rose-complexioned girl, just 
budding into beauty; high-spirited, with a gal- 
lant carriage; affectionate; girlish; healthy. 



ACT I 5 

Her hair is in a long braid, and she has on a 
tasteful spring street costume. She runs 
gaily to her mother, shaking her finger at her, 
and laughing. 

Mrs. Morris 
Hlldegarde, you naughty child! 

HiLDEGARDE 

You naughty runaway mother! I'll write to 
Father how you deserted me ! 

Mrs. Morris 
Daughter, you frightened me so ! 

HiLDEGARDE 

(hnpulsively runs over and kisses her mother 
fondly) I didn't really frighten you, you dear, 
darling, funny little Motherkins, did I? Why, 
I wouldn't for the world! When you know I'm 
perfectly able to take care of myself! Why I 
wanted to save your time, so I skipped off to buy 
Maggie's shawl; and when I came back to the 
silk counter, there I was a poor, friendless girl 
whose mother had left her just like an umbrella ! 

Mrs. Morris 
Never leave me like that again, dear! 



6 PEACH BLOOM 

Mrs. Prescott 
How'd you get home so soon? 

HiLDEGARDE 

{Her eyes shining) Oh, such an adventure, 
Cousin Laura ! In popped little I into a taxi- 
cab, — and wasn't it exciting out in the big city, — 
all alone! 

Mrs. Morris 
Hilda, never, never go alone in a taxi! 

HiLDEGARDE 

But as we turned the corner just now, I saw 
Cousin Laura get out of one I 

Mrs. Morris 
When will you learn, dear, that grown up peo- 
ple can do a great many things young girls can't? 

HiLDEGARDE 

I have learned it, but I don't know why it should 
be so. Haven't I got lots more muscle than you 
have, Muzzer dear? Just feel my biceps. Cousin 
Laura ! If anybody tried to steal my purse, — 
he'd get this, — smash! 

Strikes her palm with her small clenched fist. 



ACT I 7 

Mrs. Morris 
You must believe things, dear, because your 
mother says them. 

Mrs. Prescott 
Now weVe got a little time, let's get those fa- 
vors ready for Hildegarde's dance. 

HiLDEGARDE jumps lip and gets out of the table 
drawer a mass of lovely paper garlands, — 
soft delicate colors made into ropes, — the 
Hawaiian ^' leis.^* 

HiLDEGARDE 

Let me help too, — for that lovely party you're 
giving tomorrow on my birthday night, — you dear 
Cousin Laura ! 

She works deftly, and waits on the others, get- 
ting scissors, etc., as they fashion the '^ leisJ* 

Mrs. Prescott 
What was this shawl you ran away and dis- 
tracted your mother so for, Missy? 

HiLDEGARDE 

A beauty I got for Maggie Flannagan, my dear 
old nurse. {Lifts her handbag and shakes it gaily 
at her mother) Half the money I'd saved so 



8 PEACH BLOOM 

hard for three months, — gone in a whiff ! . . . 
I made them send out for a spandy fresh one, and 
now I'm dreadfully afraid it won't get here in 
time! 

Mrs. Prescott 
In time, — for what? 

HiLDEGARDE 
(Js she works; speaking with the strong con- 
victions of youth) You see, Cousin Laura, Mag- 
gie's got just the horridest, contemptiblest — 
that's a hard word to say, but it's just what I mean 
— ' contemptiblest sister-in-law, Leonora O'Halli- 
gan, who looks down on her, because Maggie was 
born nothing but a Flannagan! Did you hear 
that ' O ' in front of O'Halligan? Well, that one 
little letter makes all the difference between your 
being high-toned and just — dirt! And she's 
coming day after tomorrow to visit Maggie, and 
make remarks about Maggie's low birth! 

Mrs. Prescott 
{Laughing) Why even an old-clothes man 
has to have somebody to be snobby to ! 

HiLDEGARDE 
I just despise snobs! {Taking a letter out of 



ACT I 9 

her handbag and reading it) I got this letter 
from Maggie this noon : — 

' Plaze Miss Hlldergarde, sind the shawl right 
off ter me thot yer promised me fer next Christ- 
mas; an thin I kin be sated In me parlur-r, this 
Sunday, wit' me figgure swathed up in its gor-geous 
an' illgant folds, — not mindin' how war-rm th' 
day should turn, an' just bedazzle the gaze of thot 
vain, dishdalnful Leonora O'Halllgan ! ' . . . 
And after that suppose she had to wear her faded 
old gray shawl ! 

Mrs. Morris 

Tomorrow's Saturday, — can you get it to her 
way out in the country? 

HiLDEGARDE 

I must I I think by parcel post, — she's on the 
R. F. D. 

Mrs. Prescott 

There's a substation only a block and a half 
away, — ■ I'll have someone take It out. 

HiLDEGARDE 

I wouldn't bother you for anything. Cousin 
Laura ! 

Mrs. Morris 
Hilda and I'll take it when it does come, — we 



lo PEACH BLOOM 

must do some walking here, or we'll forget we 
have limbs ! 

The telephone on table rings. Mrs. Prescott 
answers it. 

Mrs. Prescott 
Hello, Brother . . . Yes, Hildegarde's here 
now. 

HiLDEGARDE 
Eric! Oh, please let me talk to him! {Runs 
to the telephone) Eric! Yes, Mother and I are 
down here for three whole weeks! For a coun- 
try mouse like me this city life is one continuous 
thrill! Went out riding in a taxi today, — all 
alone! And my little mother strayed away from 
me, and got lost, — but / found her! . . . Com- 
ing in ten minutes? Goody! Goody! Try and 
make it eight, — goodbye! {She dances lightly 
and airily about the room) Oh, won't It be en- 
trancing to see Eric again! 

Mrs. Morris 
{Laughing) Laura, can your younger brother 
possibly be Hildegarde's hero still? 

HiLDEGARDE 
{In warm defence) Wouldn't It be a funny 
girl who didn't adore a big cousin who taught her 



ACT I II 

to ride and play tennis, and hit the bullseye at 
twenty paces with a revolver! Don't you hon- 
estly think, Cousin Laura, Eric's about the most 
perfect man in the world, — next to Father, of 
course ! 

Mrs. Prescott 
To be sure ; — and nowadays perfect men are 
needles in haystacks I 

HiLDEGARDE 

(Excitedly) Mother, I want to look my best, 
and I've thought up a way to surprise Eric. Do 
come up soon and help me, — there's a ducky 
lambkin! (She takes her mother's coat and hers 
with her) I'll take yours up with me. And just 
wait till you see that shawl! It'll freeze the * O ' 
right off the O'Halligan! 

Goes out light-heartedly. 

Mrs. Prescott 
{They sit opposite each other, as they fashion 
the ^^leis") Well, Jinny, you have some excuse 
for being a flustered old hen with your one chick ! 

Mrs. Morris 
I'm really concerned about her, — what's best 
to do. Her father has been after me for six 



12 PEACH BLOOM 

months, Laura, to inform her fully, — about life. 
He says it's my duty as a mother of a really pretty 
girl, though there's no such desperate hurry for 
the Mammas of the plain ones! But then every 
girl is pretty to her mother. 

Mrs. Pre SCOTT 
Ridiculous of Miles : — her life is so sheltered. 

Mrs. Morris 
I know: — and I couldn't bear to tell her, — 
she's so innocently happy. 

Mrs. Pre SCOTT 
She's too young. 

Mrs. Morris 
Seventeen tomorrow. 

Mrs. Prescott 
Just at the dawn. And knows nothing of — 
life? 

Mrs. Morris 
Only a little ; IVe told her some facts about par- 
enthood. 

Mrs. Prescott 
Parenthood; — telling her only where there's 
been a marriage, I hope? 



ACT I 13 

Mrs. Morris 
{Scandalized by the mere idea) Of course, 
Laura I 

Mrs. Prescott 

Is that all youVe told her? 

Mrs. Morris 
{Hesitating) No, I've told her a little about 
the relationship of husband and wife, explaining 
just as my mother did to me, — a kind of sacra- 
ment to bring children Into families. 

Mrs. Prescott 

Quite right, — and it's even more than she needs 
at her age. 

Mrs. Morris 

Of course she doesn't relate this to anything — 
er — outside of marriage, or dream there's any 
danger anywhere. Now Miles wants me to ex- 
plain further, and that there are bad men in the 
world, and all that; he says I must put her on her 
guard. Do you think there's any special need? 

Mrs. Prescott 
Not with a girl sheltered like Hildegarde. . . . 
You've told her a great deal now ! I'm sure it's 
much more than your mother had told you when 



14 PEACH BLOOM 

you were Hildegarde's age, — if Aunt Jane felt 
the way my mother did. 

Mrs. Morris 

Yes, until my engagement Mother had told me 
absolutely nothing. 

Mrs. Prescott 

See, Jinny! You're a frightfully advanced 
woman for your mother's generation! And she 
probably was for our grandmother's! Pve no 
doubt Grandma let our mothers marry in utter ig- 
norance. Go slow. Knowledge of evil would 
come as a terrible shock to Hildegarde now. 
She's so radiant in her innocence ! It's been only 
two days that you've been down on this visit, but 
already your child has filled my home with a new 
atmosphere. She's like a perfect flower opening 
in the early sunlight. And do you know what it 
is? It's the power of her youth, undimmed be- 
cause she doesn't know too much about life. 

Mrs. Morris 
Still when she disappeared today, and then re- 
turned so independent and without fear, — I al- 
most wished she knew. 



ACT I 15 

Mrs. Prescott 
She'll never run away again since youVe just 
told her not to get separated like that. And 
could you pick out a more unfortunate time to 
tell her than just at the beginning of her visit 1 
How painfully self-conscious she'd be meeting all 
the young people down here ! And at her birth- 
day dance tomorrow! 

Mrs. Morris 
But before long — 

Mrs. Prescott 
Oh, preserve the peach bloom while you can. 
It never comes again! 

Mrs. Morris 
When we get quietly at home though I'll talk 
it all over with Miles. 

Mrs. Prescott 
You've told her more than most mothers I 
know, and I should rest satisfied. 

Mrs. Morris 
(Rising) Well, I must run up now and see 
what Hilda's concocting to surprise Eric. She cer- 
tainly thinks he's the cream of creation ! 



1 6 PEACH BLOOM 

Mrs. Morris ffoes out by further door, — to 

left, 
Eric enters in a moment by the door at the 
right. He is a tall, active, well-bred man of 
thirty, alert, and buoyant; a man of much 
personal charm. 

Eric 
Hello, Sister! 

Mrs. Prescott 
So nice to see you, Eric. Men gone back to 
our ships yet? 

Eric 
No : I'm starting South to corrall more of these 
coy strike-breakers. 

Mrs. Prescott 
No more threats against your life lately, I hope? 

Eric 
A few, but I go armed now. . . . Where's 
Hildegarde? ... I got over here in seven min- 
utes — to please her. 

Mrs. Prescott 
She's on tiptoe to see you. . . . How the years 
have swept by since Jinny married the good col- 
lege professor and turned her back on the city. 



ACT I 17 

And to think her child is almost a young woman 
now! 

Eric 
Isn't little Hilda wonderful? My visits up at 
Clarendon and my whole relationship with her has 
been the sweetest part of my whole life. 

Mrs. Prescott 
You should have married and had sweeter, — 
why don't you? 

Eric 
Suppose I've already somebody in mind? 

Mrs. Prescott 
No!— Tell me! 

Eric 
Suppose Cousin Jinny's daughter? 

Mrs. Prescott 
{Startled, and dropping the '^ lei ^' she is work- 
ing on) Hildegarde 1 Why she's a mere child! 

Eric 
Children have one extraordinary habit, — they 
grow up, — in time. 

Mrs. Prescott 
You're not serious? 



1 8 PEACH BLOOM 

Eric 

But I am. . . . Hasn't it been this one little 
girl sprite who has kept any other love away from 
me? Haven't I, first as a shy boy, watched her 
develop from a rose petal of a baby to a merry 
little grig of a child, and now see her beginning 
to bloom, a sweet challenge to me to woo and win 
her? And I'll take my first chance! 

Mrs. Prescott 
She's ridiculously young; you shan't put any such 
notions into her head now ! 

Eric 
Want to bet I can't? 

Mrs. Prescott 
I'll sit here with you, and I'm sure you'll be- 
have. But there's another reason why you shan't 
make love to her now. I've learned lately of an 
obstacle — 

Eric 
Don't tell me there's some old family skeleton 
of ours I've never been properly introduced to ! 

Mrs. Prescott 
No family skeleton; I've learned lately that 
you^ve been — 



ACT I 19 

The door opens, and Hildegarde's voice is 
heard hesitatingly. 

HiLDEGARDE 

Cousin Laura? 

Mrs. Prescott 

Just Eric and I are here, dear. 

HiLDEGARDE comes tripping in, wearing a very 
charming, girlish party dress, with light 
dainty slippers, etc., to match. The dress is 
cut out prettily at the throat. Her hair is 
put up youthfully. She flies over to Eric, 
and kisses him with childish joy. 

HiLDEGARDE 

Oh ! Oh ! Oh ! You dear darling Cousin 
Eric! It's a whole long five months since youVe 
been up to see Father and Mother and me ! 

Eric 
(Admiring her) Why, little bird, flying off to 
a party today? 

HiLDEGARDE 

No, but I put my new pair of wings on just to 
show you, Eric, because you can't be at my birth- 
day dance tomorrow. 



20 PEACH BLOOM 

Eric 
Charming of you ! 

HiLDEGARDE 

{Clapping her hands) My very first low-neck 
gown ! 

Mrs. Prescott having finished the favors, 
takes up a hook, hut keeps an eye on Eric. 

Eric 

What wouldn't I give to see you wear It to- 
morrow evening! 

HiLDEGARDE 
I did want you so, but Cousin Laura said you'd 
just delight In putting all the boys' noses out of 
joint! 

Mrs. Prescott 
I thought I'd Invite only the girls and boys of 
Hlldegarde's own age, Eric. 

Eric 

Why, Laura, when I'm a boy myself! 

HiLDEGARDE gets one of the garlands from the 
tahle, throws it over her neck, and dances 
ahoiit room, humming a waltz tune. 



ACT I 21 

HiLDEGARDE 

This Is one of the dances we're to have tomor- 
row, — like It? {She gaily flings another lei of 
a dif event color over Eric's head) Come, Eric, 
have one dance with me ! ( They dance grace- 
fully, while HiLDEGARDE hums the tune) It 
would be lots more fun If you were coming. 

Eric 

{At the close of the dance) Why your braid's 
up ! — What a young lady you're getting to be ! 

Mrs. Prescott 
{Looking up from her hook) Yes, and young 
ladles should be very chary of their kisses, Hilda ! 

HiLDEGARDE 

I'll never be too grown up to want to kiss Eric! 

Eric 
{With a triumphant glance at his sister) 
That's the resolve every girl should make, — for 
just one man! 

Mrs. Prescott 
See here, Eric,— you both are too old for non- 
sense. 



22 PEACH BLOOM 

Eric 
But not for birthdays, — ^ are we, Hilda? 
D'you suppose by any chance there might be a 
present somewhere round here for you, little *un? 

HiLDEGARDE 
If there is, — I'll find it! 

She puts her hand into his coat pocket and 
draws out a .^8 caliber revolver, 

Eric 
I'd forgotten that for the moment. 

HiLDEGARDE 

(Looking at it in dismay) Another revolver 
this birthday? 

Eric 

Don't cloud up so, — it's mine. What's your 
opinion as an expert? 

HiLDEGARDE 

{Handles it skillfully, and opens it) A beauty ! 
And all loaded! Why, — in the city? 

Eric 
{With mock grandeur) I'm of such conse- 
quence I've received a permit ! 



ACT I 23 

HiLDEGARDE 
But there aren't any targets. 

Eric 

{Laughs heartily as he takes it hack) Why the 
joke Is, — that Fm the target ! 

Mrs. Prescott 
His business keeps him very late in a rough part 
of town. 

HiLDEGARDE 

{Anxious for him) What dangers there must 
be here we don't have in the country! 

Eric 

You'd never guess what I've got Hilda dear, 
for someone. Tell me, if anything could be more 
exciting than this for the seventeenth anniversary 
of a very dear young lady? 

Takes a jewelry box out of his other coat 
pocket. 

Edwards comes in. 

Edwards 

The caterer, Madame, some questions about to- 
morrow night. 



24 PEACH BLOOM 

Mrs. Pre SCOTT 
Excuse me; but {meaningly to Eric) Til be 
back in a minute, Eric. Edwards, tell Mrs. Mor- 
ris that Mr. Hamilton's here. 

HiLDEGARDE 

Mother knows, Cousin Laura, but she's just lost 
to the world, — she's writing her daily letter to 
Father ! 

Mrs. Prescott 

Tell Mrs. Morris, Edwards, that Mr. Hamil- 
ton is very anxious to see her just as soon as she 
can come down. 

Edwards goes out. 

Eric 

{Calls goodnaturedly as Mrs. Prescott goes 
out) Checkmate ! {He holds the box tantaliz- 
ingly over her head; HiLDEGARDE reaches for 
it prettily) The golden apple hangs high! 

HiLDEGARDE 

Please ! Please don't be so dreadfully poky ! 

Eric lets down the box within reach, hut re- 
tains his hold for a few seconds, when after 
a little childlike struggle he lets her take it. 



ACT I 25 

HiLDEGARDE 
{Losing no time in opening it) Oh-h! Oh! 
A string of pearls ! ( Throws her arms about 
Eric's neck and gives him an enthusiastic kiss) 
You darling ! You always think of just the thing 
I want most! 

Eric 
{Controlling himself with difficulty) I wish 
I dared whisper the thing / want most ! 

HiLDEGARDE 

What is it? 

Eric 
Haven't you guessed that it's your, — love? 

HiLDEGARDE 

You funny man ! Haven't I always loved you 
ever since I was a little chit, — right next to my 
father and mother? 

Eric 

I want more ! 

HiLDEGARDE 

More than that! — youVe greedy ! 

Eric 
Promote me to the head of the list, Hilda ! 
Mrs. Morris comes in as Eric takes Hilde- 



26 PEACH BLOOM 

garde's hand and kisses it in most loverlike 
fashion. 

HiLDEGARDE 

{Not comprehending, hut loyally) Above my 
father and mother? — Not a bit of it! 

Mrs. Morris 
Eric! 

Eric 

{Shaking hands warmly with her, hut embar- 
rassed) How are you, Jinny, — I'm terribly 
glad to see you. 

HiLDEGARDE 

(Runs over with the pearl necklace to show her 
mother) Aren't they simply enchanting! And 
to think they're really all my own, my very, very 
own! You dearest Cousin Eric! 

Mrs. Morris 
{Returning necklace to HiLDEGARDE, which she 
puts on) Very beautiful, darling; — too beauti- 
ful, Eric. 

HiLDEGARDE 

ni wear them tomorrow evening at the dance, 
and think of you, Eric, all the time. 



ACT I 27 

Eric 
Do! I'd love to have you; — " all the time " 

— don't forget ! 

Mrs. Morris 
Darling, I wish to have a word with Eric alone. 

HiLDEGARDE 

{Starting out) Yes, mother. And perhaps 
I'll find Maggie's shawl has come. Oh, it must 
have! 

Eric 

I'm leaving town, Hilda, but remember you're 
all going with me to that box party at Peter Pan 
Monday. I don't want to miss being on the spot 
when you lose your heart to Maude Adams! 

HiLDEGARDE 
{Claps her hands, and dances happily about the 
room) Heavenly! The party tomorrow night, 

— and my hair will be way up then, and all the 
other happy times Cousin Laura's planning for us, 
and seeing you again, dear Eric, — oh, isn't the 
world the most glo-o-rious place to live in! 
Goodbye, — just for today. {She runs out, mer- 
rily, and blowing a kiss to Eric) Catch it! — 
if you can ! 



2 8 PEACH BLOOM 

Eric 
{Eying Mrs. Morris, uncertain what she's go- 
ing to say) I'm ready, Jinny; but do you mind 
if I tell you I'm already booked for some kind 
of a scolding from Laura, — ^ later on? 

Mrs. Morris 
(Quivering with indignation) Eric! How 
could you make love to Hildegarde ! 

Eric 
Because, Jinny, — I want to marry Hildegarde. 

Mrs. Morris 
And so you took advantage of her childish af- 
fection for you? 

Eric 
Honestly, Jinny, I didn't mean to, — today; but 
she was irresistible. 

Mrs. Morris 
A girl who hasn't even finished school yet! 

Eric 
Now, Jinny, — my criminal record? Crime 
Number One, — ^ I'm thirty; Crime Number Two, 
— I'm a bachelor! 



ACT I 29 

Mrs. Morris 
Plenty of bachelors of thirty I'd never con- 
,sider for my daughter. 

Eric 

{With sincerity) Jinny, little Hilda has been 
absolutely the only woman in my whole life for 
me, and our affection has helped me struggle 
along till now. 

Mrs. Morris 

I'm so glad, Eric, — for the other kind of man 
shall never have Hildegarde ! And frankly, I 
know only one objection, — Hildegarde's own 
youth; and that I shall safeguard in every way! 

Eric 
But — later? 

Mrs. Morris 
Later you may enter the lists, — if no objec- 
tions come up; but for the present — (Mrs. 
Prescott returns) I was just going to ask Eric, 
Laura, not to try to see Hildegarde while we're 
staying here. 

Mrs. Prescott 
Eric ! You didn't make love to Hildegarde ! 

Eric 
Frost-nipped, right in the bud! 



30 PEACH BLOOM 

Mrs. Prescott 
Jinny's right then. You mustn't come here till 
Hildegarde goes. 

Eric 
What! Not see Hildegarde all the three 
weeks she's here ! 

Mrs. Morris 
Fm sorry, but I'm sure it's for the best, Eric, 
— for Hildegarde's own sake ; goodbye. 
She goes out. 

Mrs. Prescott 
Eric, you've no right to get Hildegarde inter- 
ested in you, — or any other girl so sweet and 
young until you reform, — in one line. 

Eric 
Some little sparrow been telling fibs about me? 
Wring its neck! 

Mrs. Prescott 
Your recent acquaintance with that man LIp- 
pley degrades you, — knowing what his vocation is. 

Eric 

Has he got any? — That is, besides joining all 
the clubs his Daddy's pickle money gets him Into? 



ACT I 31 

Mrs. Prescott 
/ hear his vocation's drinking, — like a sponge. 

Eric 
Never saw him turn a hair ! 

Mrs. Prescott 
Walter says — 

Eric 
0-ho! Your husband's the little sparrow! 

Mrs. Prescott 
Says his dinners are seas of champagne, and 
unfortunate guests carried out to their taxis sing- 
ing and speechmaking, — how can you ? 

Eric 
Sing or speechify? — Why Laura, you know 
I can't do either ! 

Mrs. Prescott 
Eric Hamilton, are you going to a dinner of 
Lippley's tomorrow night? 

Eric 
Your husband, Walter Prescott, got the story 
partly right. I'm going to try to go. His din- 
ners are marvelous, — I don't mean for the cham- 



32 PEACH BLOOM 

pagne, — but the rare things he gets hold of I 
And he gathers together a mighty interesting 
crowd of men, — which is the main attraction 
for me. 

Mrs. Prescott 
So you don't mind being one of the '' unfortu- 
nate guests " I 

Eric 
Laura ! YouVe never heard of me being, — • 
not myself? 

Mrs. Prescott 
Twice lately you've even come into my home, 
badly under the influence. 

Eric 
I humbly beg your pardon, Laura. I'll never 
let that happen again. You see I can manage 
three glasses of champagne, but the fourth, — and 
it's ridiculous ! — always makes the floor rise ! 

Mrs. Prescott 
I realize you've been working terribly hard, but 
that's why you must not go where you'll be 
tempted. 

Eric 
I've promised Lippley I'll go, if I can get back 
from the South on time. 



ACT I 33 

Mrs. Prescott 
Jinny and Hlldegarde, — what If they should 
learn of your having been — drunk 1 

Eric 

Hildegarde ! — She must never know I 

Mrs. Prescott 

There's only one way for her never to know, — 
stay on the safe side : — since it's three glasses, — 
respect your limitations, and be thankful you've 
got them! It's only been within the last month 
you've been going too far, Walter says. You can 
stop I 

Eric 

( Thinking it over) After this I'll cut out Lip- 
pley altogether, — for Hildegarde's sake, and if 
necessary I'll move over to another club. 

Mrs. Prescott 
Fine! And you mean you'll begin tomorrow 
night ? 

Eric 
(Taking out his watch) Nearly train time, — 
no, I didn't. 

Mrs. Prescott 
But why not begin tomorrow night? 



34 PEACH BLOOM 

Eric 
Oh, If I should possibly get there, I'll wave off 
the seductive fourth glass, — in fact I'll never take 
too much again. The chances are tomorrow 
night that I'll be perched at some remote little 
railroad lunch counter, sharing my supper with a 
swarm of "busy curious flies," — ugh! 

Edwards comes in with box done up in dis- 
tinctive green paper, 

Edv^ards 
Mrs. Oakes, asking for you and Mrs. Morris, 
Madame. 

Mrs. Prescott 
Show Mrs. Oakes up. 

Edwards 
And this package Miss Morris has been down 
to ask me about has just come. 

Mrs. Prescott 

Take It up when you tell Mrs. Morris, and then 
bring tea. 

Edwards goes out with box, 

Eric 
{Pausing as he starts out) How's this for a 
square bargain, Laura? If you'll lower the pro- 



ACT I 35 

hibltlve tariff on Hlldegarde, and permit a little 
reciprocity, — say let me see her every two days, 
— I'll cut down the total consumption of alcohol 
for the United States this year, by not going to 
Lippley's dinner! 

Mrs. Prescott 
(Laughs) You are a boy, after all, Eric! 
But that's not a fair offer, — when you think you'll 
be at that remote little lunch counter anyway! 
Seriously you must not see Hildegarde, — since 
you forgot yourself and made love to the child. 
... By the way, where can we reach you if any- 
thing turns up about the business? 

Eric 
(A little piqued) Going South: anywhere I 
can get strike breakers; — haven't any address. 
Adios, Laurita. Tell Hilda how sorry I am I 
can't go to Peter Pan. But I'll send you over 
the tickets Monday. 

Goes out, bowing courteously to Mrs. Morris 
as she comes in. 

Mrs. Morris 
Edwards has just brought up that shawl, and 
It's far too beautiful for Maggie! Hildegarde's 



36 PEACH BLOOM 

a ridiculous child sometimes ! Spent twenty-three 
dollars for it! 

Mrs. Prescott 
I'll have Edwards mail it later. 

Mrs. Morris 
You're too kind. Do you think Martha Oakes 
would like to see Hildegarde? 

Mrs. Prescott 
Yes, but you mightn't like to have Hildegarde 
meet Martha ; — for if she gets started to talk- 
ing about her work, she'll say things that are im- 
proper for young girls to hear. 

Mrs. Oakes comes in, shown in by Edwards: 
she^s a handsome city woman, quietly dressed; 
of same age and social birth as the other two; 
the best type of city woman who is going into 
social service today. They all greet each 
other warmly, 

Mrs. Prescott 
Just delighted to see you, Martha I 

Mrs. Morris 
Martha! Martha! We three old school- 
mates! 



ACT I 37 

Mrs. Oakes 
I couldn't resist getting a peep at you, Jinny, 
on the way to my office. 

Mrs. Morris 
Your husband's bank? 

Mrs. Oakes 
No, the society I'm working in. I've a room 
of my own there now, and oh, I'm so deeply in- 
terested In the work! 

Mrs. Morris 
Just what sort is it, Martha? 

Mrs. Oakes 
Cases connected with the social evil. 
Edwards comes in with tea, and soon retires, 

Mrs. Pre SCOTT 
{Pouring tea) Her work. Jinny, is among 
girls who are depraved. 

Mrs. Oakes 
Among the unfortunate, dear Jinny. 
Hildegarde looks through the open door. She 
has the large green package with the shawl 
in it, and her hat and jacket on to go out; 



38 PEACH BLOOM 

she carries an umbrella and her handbag. 
The others are busy about the tea table and 
do not notice her, 

Mrs. Prescott 
Oh, come, come, Martha, there's always an in- 
stinct for evil in girls who go into the — er — 
gay life. 

HiLDEGARDE takes a step as if to come in, then 
hesitates as she sees they are busy, with Mrs. 
Oakes,^ a stranger to her. She decides not 
to interrupt her mother and steals quietly out 
with the box, without having been observed, 

Mrs. Oakes 
Many a girl, Laura, has taken her first step 
down because her mother had an instinct for si- 
lence. It is heartbreaking to think of it, — for 
the lack of just one word of warning ! Why from 
fifteen years of work I know that an ignorant at- 
tractive young girl is not safe alone on the streets 
of our great cities. 

Mrs. Prescott 
{Impatiently) No young girl of our class does 
go out on our streets alone. 

Mrs. Oakes has finished her cup of tea, and 
has risen and is standing by the window. 



ACT I 39 

Mrs. Oakes 

Don't imagine it's only the daughters of the 
poor who get caught. (Looks out of the win- 
dow) Why there's a very nicely dressed young 
girl, just crossing the street now, carrying a pack- 
age; she's evidently of '* our class." I hope that 
girl knows ! . . . What I mean. Jinny, Is that 
there are countless snares for the ignorant. . . . 
She's turned the corner now. 

Mrs. Morris 
(Uneasily) Snares? What kind, Martha? 

Mrs. Oakes 

A hundred kinds of snares to catch the ignorant. 
Many are appeals to the natural feelings or quick 
sympathies of girls. All kinds of friendly ad- 
vances made by nice looking young men, or even 
women of apparently good class, — and fake lov- 
ers who later sell their victims like cattle. Why 
we even have cases where the bait is flowers or 
candies that have been drugged ! 

Mrs. Prescott 
Terrible; but what can we do about It? 



40 PEACH BLOOM 

Mrs. Oakes 
Every one of us is responsible who is afraid 
to speak boldly on the great sex prpblems, — just 
think of the fathers and mothers we know our- 
selves, who are afraid to tell their children! We 
build a great wall of silence about our boys and 
girls, but they climb right over it, and learn else- 
where, somehow, sometime. 

Mrs. Morris 
Then, you'd advise every mother to tell her 
daughters all of this, — and the evil too? 

Mrs. Oakes 
Jinny, you wouldn't ask if you knew of the end- 
less procession of girls who get caught by this life, 
who really had no notion of what was in store for 
them. And when they learned, it was too late! 
That's why we've got to save the girls before, — 
and not just rescue them after. 

Mrs. Morris 
I think you're right, Martha, — you're convinc- 
ing me. 

Mrs. Oakes 
{Impassioned) If only the mothers who are 
so loving but blind would understand the dangers 



ACT I 41 

which are lurking for their own flesh and blood! 
. . . Dangers from men of their own class, and 
from this consuming plague of white slavery! 
Every parent must tell the children frankly the 
whole truth about sex, — what a precious gift it 
is, to be kept sweet and pure and holy. And I 
believe we're standing at the dawn of a new day 
of truth, — it's coming soon, that day when we 
shall no longer be cowards before our own chil- 
dren! . . . Please do forgive me for talking so 
much about my work, — I've been dreadfully rude. 
Didn't Hildegarde come down with you? Plow 
she must have changed since I saw her here eight 
years ago ! Tell me how she is. Jinny. 

Mrs. Morris 
Almost grown up now. She's upstairs, — I'll 
go and get her. 

Mrs. Oakes 

{Looking at her watch and rising) I'm so 
sorry, but I must hurry off now, — I've an appoint- 
ment at the court. But I'll be In again soon to 
see Hildegarde and both of you. 

Mrs. Prescott rings the hell. Mutual good- 
byes. Edwards appears and takes Mrs. 
Oakes down. 



42 PEACH BLOOM 

Mrs. Morris 
(Moving restlessly about) If she'd been tell- 
ing all this while Hilda was out on her taxi ad- 
venture, I should have been distracted. 

Mrs. Prescott 
This time you can't worry, since you know 
Hildegarde's safely upstairs. . . . Have another 
cup, Jinny? 

Mrs. Morris 
No, thank you. 

Mrs. Prescott 

Martha's a fine woman ! — but — such cases ! 
Imagine Hildegarde taking candy from a stranger ! 
Or letting herself be approached by one of these 
men of the street corners ! 

Mrs. Morris 
No, I can't, but Martha must know what she's 
talking about; and I'm convinced I ought to tell 
Hildegarde ; — did you hear her say there were 
a hundred ways to catch the ignorant? 

Mrs. Prescott 
Not yet! Leave the peach bloom on for a 
little while longer. 



ACT I 43 

Mrs. Morris 
Now! I shall take the time, Laura, there is 
before dinner. 

Mrs. Prescott 
Oh, very well ; she's not my child. How dark 
it's become! {Going to the window) Why, it's 
raining ! 

Steps hack and turns on electric lights. 

Mrs. Morris 
{At the door) I won't be one of those moth- 
ers Martha spoke about a single minute longer! 
She goes out. 

Edwards comes in by other door; starts to 
take tea things; stops with tray in his hands. 

Edwards 
Excuse me, Madame, but I can't help being a 
bit concerned about the young lady. 

Mrs. Prescott 

Who? — ^Not Miss Morris? 

Edwards 

Yes, she said she'd be back in no time, and it's 
turning dark now. 



44 PEACH BLOOM 

Mrs. Prescott 

Back; — from where? 

Edwards 

Miss Morris stepped out some while ago to 
mail that box she was so anxious about. I said 
I'd be glad to do the service for her later on when 
I was free, but she said 'twould have to go at 
once, or the person wouldn't get it on time. 

Mrs. Morris comes in hastily with her hat and 
coat in her hands. She is almost tragically 
worried. 

Mrs. Morris 

I can't find Hildegarde ! 

Mrs. Prescott 

She went out, Edwards says, to mail that 
wretched shawl ! 

Edwards 

She came to me at the door, and asked the 
way. I told her 'twasn't a minute's walk. That 
was quite a while back, Madame. 

Mrs. Morris 
She went alone? 



ACT I 45 

Edwards 
Yes, Madame, she said you were busy, and she 
wouldn't trouble anybody; that she'd like the walk 
and she was used to going to the post-office at 
home alone. 

Mrs. Morris 
{Putting on her things) You don't suppose 
something's happened to her ! 

In her nervousness she drops her umbrella with 
a clatter. 

Mrs. Prescott 
Oh, she'll be back in a minute, and come run- 
ning in just as she did half an hour ago, laughing 
and shaking her finger at you ! 

Mrs. Morris 
I'm not sure she will, — I'm going out to look 
for her. 

Mrs. Prescott 
Hildegarde's probably just taken a wrong turn; 
but we'll all get ready and go out; and we'll find 
her, — never fear! 

Mrs. Morris 
{Starting out the door frightened) I can't 
wait! I'm going now, and I'll find my child! 

Curtain 



46 PEACH BLOOM 



Scene II 

A paved, asphalt city residential street, with a 
block of substantial, luxurious houses opposite; 
at the left a side street runs at right angles back 
out of view. A sharp shower has made every- 
thing wet. It is still drizzling now. It is 
about fifteen minutes since Hildegarde left the 
Prescotts' home. The storm clouds have 
made it unnaturally dark. It is a little before 
the city lights are turned on. 

Hildegarde comes walking dozvn the main street 
from the right, in company with a gray-haired, 
well-gowned woman in her early fifties. Hilde- 
garde is holding her umbrella carefully over 
the stranger^s head. In a moment Hilde- 
garde stops. 

Hildegarde 

I'm very sorry, but I'm afraid I must turn back. 
My mother might be anxious if I were out much 
longer. 

Stranger 

My home's only a step further, — the third 
house there, — and it's still raining. 



ACT I 47 

HiLDEGARDE 
Oh, — I'll gladly take you that far. 
They start again. 

Stranger 
You've certainly saved me a wetting, and been 
very kind to an older woman, — and a stranger 
to you ; — that makes it all the kinder of you ! 

HiLDEGARDE 

I'm only too glad I could help you. 

Stranger 
I hope your mother won't be disturbed at the 
little extra time I've taken. 

HiLDEGARDE 

She would be soon; you see I left word I'd be 
back in no time at all. 

A Policeman comes walking down the side 
street, in rubber coat, etc., turns the corner, and 
walks toward them. He looks hard at the two, 
especially when he hears Hildegarde speak. 

HiLDEGARDE 

Let me see; I've come one block over and one 
up ; so I can get back to the Avenue by going less 
than two blocks from here? 



48 PEACH BLOOM 

Stranger 

That's exactly right, my dear. 

Policeman meets the Stranger's eyes, and 
goes straight past; then stops and turns to 
look as they stand at the foot of the entrance 
steps. The Stranger with her eye on the 
Policeman drops her handbag, which takes 
a moment for HiLDEGARDE to pick up and 
return to her. The Policeman shrugs his 
shoulders and disappears down his heat with- 
out turning about again. 

Stranger 
If you'll be so very good as to see me up to the 
door. 

Hildegarde 
Certainly ! 
They go up the steps together. 

Stranger 
You said, — " Your mother? " You live in the 
city then ? 

Hildegarde 
Oh dear no, we've just come down from up the 
state for a visit, — for the first time in years ! I 
love the city! 



ACT I 49 

Stranger 
{At the door) Do stop a moment and have a 
cup of tea to warm you. 

She pushes the hell three times sharply, 

HiLDEGARDE 

Oh no, thank you, just as much. 

The door is half opened hy Peter, a huge, 

swarthy man in livery. 
The Stranger takes Hildegarde hy the hand 

and shakes it warmly. 

Stranger 
Goodbye, and thank you again, my dear. 

Still holding Hildegarde's hand as she glances 
up and down the street, 

Hildegarde 
I must hurry. Goodnight. 
Politely tries to take her hand from the Stran- 
ger's. 

Stranger 
{Who still retains Hildegarde's hand) 
Goodnight! {Casually gets in between her and 
the steps. Nods backward to the man in the door- 
way. Says in a very ordinary tone of voice) 
Peter, — quick, — take her ! 



so PEACH BLOOM 

Peter reaches out a powerful arm about HlLDE- 
GARDe's waist, and claps his other hand over 
her mouth; while the Stranger instantly 
seizes Hildegarde's open umbrella, cutting 
off the view by holding it between herself 
and the street. Hildegarde can just be 
glimpsed as she is pulled back into the house. 
The Stranger quietly and leisurely lowers 
the umbrella as if nothing had happened. 
She gives another quick look up and down the 
vacant street, then goes in and shuts the door. 
There is silence. A minute afterward the in- 
frequent lights of a quiet residential district 
flash on, and the wet pavements gleam. 

Curtain 



ACT II 

The handsome sitting-room of a suite. A door 
opening into an inner room, and a main, mas- 
sive entrance door. The windows have an orna- 
mental grill-work inside, and tht glass is not 
transparent, hut ornamental also. The room is 
furnished with every appeal in the way of the 
material comforts of life: luxurious easy chairs, 
warm sensuous coloring throughout, even to the 
vari-colored electric light shades. Sofa and 
tables, fine paintings, and a curious cabinet with 
drawers. A fire is laid. Two minutes have 
elapsed. 

The room is in the gloaming. The Stranger, 
" Madame," comes in, turns on lights, followed 
at once by Peter hearing Hildegarde in his 
arms, assisted by JuRGEN, a tall footman in liv- 
ery, who carries her feet. Hildegarde is 
struggling desperately but vainly. 

Madame 
{In soft voice) Put her down, — easy now — 
on that chair. 

51 



52 PEACH BLOOM 

They put her in large, low easy chair, Peter, 
with his hand still over her mouth, stands be- 
hind HiLDEGARDE. 



Madame 

Now be quiet, dearie, and he'll take his hand 
away. 

Nods to Peter, who lifts his hand. Hilde- 
GARDE gets out a good scream, 

HiLDEGARDE 

Help ! Help ! 

Peter smothers the next cry into a gurgle. 

Madame 

Humph! Hurry and get some cord, Jurgen, 
and a clean handkerchief. 
JuRGEN goes out. 

Madame 

Fm so sorry you make this necessary, my dear, 
but ours is a quiet street. I hate to have to do 
what I'm going to, but you're such a lively little 
piece. 

Jurgen returns with cord. 



ACT II 53 

Madame 
Feet! 

JuRGEN swiftly crosses Hildegarde's feet and 
ties them, 

Madame 
Hands! 
They tie Hildegarde's hands behind her hack, 

Madame 

The handkerchief? 

Jurgen hands it to her, and Madame delib- 
erately makes a large knot in it, then signs 
to Peter, who lifts his hand, and she dex- 
terously slips knot into Hildegarde's mouth. 
Takes her own scarf of and hands it to 
Peter. 

Peter swathes it across Hildegarde's mouth, 
and ties it behind her head. HiLDEGARDE 
makes muffled cries. 

Madame 
Tighter. Tighter. There : — very good, 
Peter. Now get back to the door. 
Peter hurries out. 

Madame 
{Very quietly) I'll be back later when you 
come to your senses. {She starts out, followed 



54 PEACH BLOOM 

hy JuRGEN. At the door she stops, fussing with 
the lock) See here, Jurgen, this key won't catch. 

JURGEN 
( Trying it) Lock's worn smooth, I guess, 
Madame. 

Madame 
Well, the bolt'll have to do for tonight, then; 
first thing tomorrow we'll have a new lock on. 
They go out, and the holt is shot. 
HiLDEGARDE, left alone, for some minutes 
struggles in vain with her bonds, but at last 
works one hand free; then the other; she 
frees her mouth from its gag, then unties her 
feet. She starts up panting, and begins a 
desperate search for escape. The main door 
bolted, the inner door at right locked, the 
grill work at the windows all bar her way. 
At last she begins pounding on the main door 
with her two fists. 

HiLDEGARDE 

Let me out ! Let me out I Help ! Help ! 
Help I 

The bolt is withdrawn, and Madame enters; 
her coat and hat are off, and her gown is seen 
to be very rich. Her hair is elaborately coif- 



ACT II 55 

fured. She wears a silver chatelaine at her 
side. She looks like a person of good class, 
and is almost distinguished in her appearance. 

Madame 
(Gripping the girl's arm, but speaking softly 
and with the repression of power) Please/ No 
noise ! Who took these off? 

HiLDEGARDE 

/ did. 

Madame 

Quite athletic! 

HiLDEGARDE 

How dared you put them on me! 

Madame 
Highty, tighty, my girlie. A little more re- 
spect if you please I 

HiLDEGARDE 

Tell me why I'm here ! 

Madame 
Here? Because you chose to come here, 
dearie. 

HiLDEGARDE 

That's a lie, and you know it! 



S6 PEACH BLOOM 

Madame 
{Soft voiced, hut taking hold of Hildegarde's 
wrist firmly) Now we want to be good friends, 
but you must never forget that I'm mistress here, 
— as you saw. 

HiLDEGARDE 

What are you locking me up for, — I suppose 
for ransom? 

Madame 
{Quickly accepting the idea) Of course, — 
for ransom. 

HiLDEGARDE 

How much do you expect for me? 

Madame 
You're worth, — a great deal. 

HiLDEGARDE 

My family aren't millionaires, — why did you 
think they were? Because of my necklace? 

Madame 
Perhaps I did. {Fingering it. Says a bit con- 
descendingly) It is genuine, and very pretty. 

HiLDEGARDE 
It's a birthday present today that I'd put on 
and forgotten to take off. 



ACT II 57 

Madame 
Your nineteenth birthday, you said. 

HiLDEGARDE 
Why, I'm not seventeen till tomorrow, and any- 
way I never mentioned It to you. 

Madame 

You've forgotten, but / never forget anything. 

HiLDEGARDE 
You haven't told me how much you're going 
to ask Father and Mother for me ; — I must write 
at once. 

Madame 
No hurry. A little anxiety helps. 

HiLDEGARDE 

But It'll be tomorrow morning before a letter 
can possibly reach either of them unless you let 
me telephone my Mother now. 

Madame 
{Laughs) Phone! Why, my dear, we won't 
even write for a fortnight or so, and the sooner 
you make up your mind to that — 



58 PEACH BLOOM 

HiLDEGARDE 

Oh, Mother would be nearly crazy not know- 
ing I was really safe; — she might think I'd been 
run over! Please, please, PU give you my neck- 
lace extra, if you let me send word tonight. 

Unclasps her necklace and proffers it. 

Madame 
It looks very girlish on you, — so keep it. And 
your father and mother are quite a long distance 
from the city? 

HiLDEGARDE 

Father is — it's six whole hours by train, but 
Mother came down with me, — oh, don't make 
me wait! 

Madame 

We must have time to arrange the proper 
terms. 

HiLDEGARDE 

All the terms can be arranged now right here 
in the city through our cousins. . . . Oh, what 
will Mother and Cousin Laura think if I don't 
come back tonight! 

Madame 

Now get calm. Your friends will hear just as 
soon as I think best, and not before. Meanwhile 
you'll be very comfortable here with me. 



ACT II 59 

HiLDEGARDE 

But — 

Madame 

I've explained, and I'd rather not have any 
more talk! Have you taken a look 'round? 
. . . An elegant bedroom. ( Takes a key from 
chatelaine, and unlocks inner door) This Is the 
one door in, — and out. And a window just like 
these others, notice. And a private dressing- 
room. {Opening a door within the inner bed- 
room) Take a look at those mirrors; do you 
know they cost me a cool six hundred dollars! 

HiLDEGARDE 

I don't care about your rooms, — you're a 
wicked bad woman ! What have my parents ever 
done to you? You ought to be sent to jail for 
kidnapping ! 

Madame 

{Laughs, not ill-naturedly) Your ginger is re- 
freshing; only remember my appetite for it has a 
limit. Guess you haven't had anything to eat 
since lunch? 

HiLDEGARDE 
No, and I won't touch anything. 



6o PEACH BLOOM 

Madame 
I've ordered some tea for you. Later on the 
man will bring up dinner; — ^better than you ever 
ate. Our chef is straight French imported goods I 
There is a knock at the door, which Madame 
answers. Jurgen comes in with tea tray, 
dainty china, attractive sandwiches, tea serv- 
ice, etc., and a decanter of rum. 

Jurgen 
Dolly says a gentleman wants you on the tele- 
phone, Madame. 

Madame 
{To Hildegarde) Excuse me, my dear. 
Light the young lady's fire, Jurgen, and make it 
cheery. {She goes out.) 

Jurgen sets tray down on large table, draws 
up a small low tea table before the fire, sets 
the tray conveniently on that, and lights the 
fire, 

Hildegarde 
{Hesitating) Do you know why I'm here? 

Jurgen 
{Laughs) I wouldn't lose if I made a bet on 
it! 



ACT II 6 1 

HiLDEGARDE 

Then won't you help me get away? My 
father and mother will be terribly — 

JURGEN 
Nothin' doin'. 

HiLDEGARDE 

Think how your mother would feel, if your 
sister were held for ransom, — for weeks ! 

JURGEN 

Don't hand me any line of soft talk! 

HiLDEGARDE 
Oh-h ! {Growing older in experience) Per- 
haps, — money? 

JURGEN 
Didn't you hear me say, — ''Nothin' doin'"? 
{Goes to hall door, opens it, looks up and down 
the passage way. Comes hack, and over to HiL- 
DEGARDE ) Well, — what's your proposition? 

HiLDEGARDE 

You get me out of here right away, and I'm 
sure my parents will give you a whole five hun- 
dred dollars instead of that bad woman getting 
any! 



62 PEACH BLOOM 

JURGEN 
{Contemptuously) Five hundred ! — You stay 
and fix it up with her ! 

HiLDEGARDE 

That's just the point. She won't let my par- 
ents know a word about me for two weeks any- 
way. Of course I'm not afraid here for myself, 
but meanwhile my mother will — 

Choking down a sob, 

JURGEN 
If your folks feel that bad, they won't stop 
at no mean little five hundred! 

HiLDEGARDE 

Well, I think they might pay a thousand to get 
me back. 

JURGEN 
(Pausing) Naw; — that's nearer, but not 
worth getting Madame and her friends sore on 
me; — I've got ambitions ! 

HiLDEGARDE 

Then fifteen hundred, but I can't promise more, 
— I don't know so very much about money — 



ACT II 63 

JURGEN 

Fifteen hundred, — hum'm'm'm, — it's not half 
enough, but I'll consider. And when your par- 
ents find you really safe, they'll be glad to hand 
the man who got you out of here an extra five 
hundred. Mind, when you're out, don't never 
say I had nothing to do with getting you in, but 
remember I was just the soft-hearted feller that 
saved yer, — promise ! 

HiLDEGARDE 

Oh yes, yes, — anything, and please, please, 
how soon can you get me out, — now? 

JURGEN 

My only chance'd be tonight. You heard what 
she said about the new key? 

HiLDEGARDE nods. 

JURGEN 
Well, tomorrow morning there'll be a new lock 
put on, and she always carries the key to this room 
herself, or else Dolly, — you couldn't touch her 
heart whatever you'd offer ! 

HiLDEGARDE 

{Excitedly) Tonight is fine! Oh, thank you 
so — so much ! 



64 PEACH BLOOM 

JURGEN 
There's only a bolt tonight — 

HiLDEGARDE 

And you can slip it when no one sees? 

JURGEN 
'Tain't all so easy's it sounds. I go on the 
door for a short stretch at four A. M., when things 
are quiet. Now then's the time when the bolt has 
got to be slipped. 

HiLDEGARDE 

ril be ready. 

JURGEN 

But I daresn't come up. My feet are too 
heavy. Madame's got ears like a cat, — and 
Dolly's just as sharp. 

HiLDEGARDE 

What can we do then? 

JURGEN 
Get somebody in with us. There's only one 
who would, — that's Rosie. She was soft once 
before, but Lord knows if she'll want to go in for 
it again. No harm asking, for she'd never peach 
on me. 



ACT II 6s 

HiLDEGARDE 

Then I shall be free tomorrow! If this kind 
Miss Rosle will help. 

JURGEN 
Free termorrer? — ^ Not much; then we two'll 
get into a cab — for I'll have to quit my job right 
then and there — and we'll go to a flat of friends 
of mine, and you'll be free, young Miss, if your 
friends come across all right with the cash/ . 

HiLDEGARDE 
{Draws back doiihtingly) I don't know about 
going among any more strangers. 

JURGEN 

Losing your nerve? 

HiLDEGARDE 

No, — ' but — 

JURGEN 
It's your one chance, — believe me. Take it or 
leave it. 

HiLDEGARDE 

{Desperately) I'll take it. 



66 PEACH BLOOM 

JURGEN 

That's business. Now what's the party's 
name? 

HiLDEGARDE 
My father is John Miles Morris, Professor of 
Greek at the college in Clarendon. 

JURGEN 

Where's that? 

HiLDEGARDE 

Why don't you know ! — And it's in this state ! 

JURGEN 
Well, I guess I can remember. {Warningly) 
Now as you vally your skin, don't make no 
slips or noises! 

HiLDEGARDE 

How shall I know just what to do? 

JURGEN 
You'll hear either from Rosie or me, — if Ma- 
dame's out of the way. (Starts to go outy hut 
turns hack. Points to her handhag) Got any 
coin there? 

HiLDEGARDE 

Yes, — some. 



ACT II 67 

JURGEN 
How much? 

HiLDEGARDE 
{Looking into the hag) A little over twenty 
dollars. 

JURGEN 

Madame knows? 

HiLDEGARDE 

No, but she did see my necklace. 

JURGEN 

Hand it over. 

JuRGEN takes the hag from her, and empties 
it; turns it upside down; an envelope falls 
out; he pinches it to see if there^s any hill 
in it; then puts envelope hack, and returns 
hag to HiLDEGARDE. 

JURGEN 

I'll keep this, just to show I b'lieve youVe on 
the square ; — I'll count it off as first payment on 
the fifteen hundred. 

He goes out. 

HiLDEGARDE shakes and examines empty hag 
thoroughly, then looks at the door in which 



68 PEACH BLOOM 

JuRGEN has shot the holt, and says with 
tightened lips. 

HiLDEGARDE 

Harpy ! 

She takes of her necklace and hides it in the 
cabinet. 

The door is softly unbolted; JuRGEN comes in, 
followed very quietly by RosiE. She is a 
very pretty girl of twenty, whose looks are 
just beginning to lose their freshness; she is 
gentle, rather weary in manner; her dress is 
handsome, and decollete; she is elaborately 
coloured and manicured, yet she has dignity, 
refinement and spirituality. She is wearing 
a large and noticeably pretty locket. 

JURGEN 

{Pointing to HiLDEGARDE) This is the new 
young lady I spoke about. I'll be back, Rosle, to 
let you out; now be awful quiet. 

Goes out and slips bolt on them. 

RosiE 
Tm glad to make your acquaintance. 

HiLDEGARDE 

Thank you. . . . Are you "Rosie"? 



ACT II 69 

ROSIE 

They call me that here. 

HiLDEGARDE 

i\re you that woman's daughter? 

ROSIE 

The Madame? No, I'm one of her girls. 

HiLDEGARDE 

One of them? How many are there? 

RosiE 
Seven, — eight now that the house is full. 

HiLDEGARDE 

Eight! Does she conduct a business of ran- 
som? 

RosiE 

She conducts, — a business. Tell me how you 
got Into this house? 

HiLDEGARDE 
I brought that woman to the door under my 
umbrella and they caught me. 

RosiE 
What were you doing out alone anyway? 



70 PEACH BLOOM 

HiLDEGARDE 
I'd just run out for a moment to mail a par- 
ticular package off to my old nurse. I was start- 
ing back when " Madame " as you call her, asked 
so pleasantly to walk with me. She'd been in the 
store buying stamps just before me, and was stand- 
ing in the doorway when I came out. 

RosiE 
Of all the mean tricks! 

HiLDEGARDE 
{Almost sohhing) And now you see. Miss 
Rosie, I can't get out of here for ever so long 
unless someone helps me. 

ROSIE 
I know ; — / was in these rooms once. 

HiLDEGARDE 
And she won't even send word to Mother and 
Father for two whole weeks! 

RosiE 
I'm going to try to help you, little girl, because 
I needed help once, just like you. 



ACT II 71 

HiLDEGARDE 

And wasn't there anyone who would? 

RosiE 

No one . . . Now Hsten; I'll slip back the bolt 
on your door as soon after four o'clock as all is 
clear. This suite is two flights up at the very back; 
the next room forward belongs to Madame's right 
hand helper, between you and the stairs, and Ma- 
dame's own room is right beneath yours. Carry 
your shoes and keep away from the banisters, — 
that side creaks. 

HiLDEGARDE 

I'll take care; is there anything else? 

RosiE 
Yes; don't let anybody carry off your street 
clothes under any excuse ! You can't get away in 
the clothes they'll give you. 

HiLDEGARDE 
Will they try that? 

RosiE 
Sure to ; maybe not before tomorrow, but watch 
out. 

HiLDEGARDE 
I'll Stay up all night. 



72 PEACH BLOOM 

ROSIE 
Luckily, I don't think you'll be disturbed to- 
night. Madame was telephoning In her room, as 
I passed by a little while ago, and something she 
said made me stop and listen at her door. But 
don't let her guess why you stay up, — or Dolly I 

HiLDEGARDE 

Who Is Dolly? 

RosiE 

Madame's right hand girl, the one next door; 
she's a " trusty," and It's her particular business 
to snoop around and snitch. 

HiLDEGARDE 
I never heard of such a terrible place. Can't 
you send a message to my mother tonight? 

RosiE 
Impossible. Anyway by the time your friends 
got their way In here they might not find you. 
. . . Now listen; one slip before Madame or this 
Dolly, and we two will have a reckoning you'll 
never forget! And remember. If either of them 
gets the scent, that Jurgen will throw us over like 
a flash! 



ACT II 73 

HiLDEGARDE 

rm afraid to trust him at all. 

RosiE 
There's no other way; tomorrow night will be 
too late, — for more reasons than just the new 
key! But Jurgen will try it for enough money; 
he's got ambitions, — for a saloon license. 

HiLDEGARDE 

Oh, to think I'm going to see Mother tomor- 
row morning! I can never thank you enough, 
Miss Rosie. How long were you kept in these 
rooms if nobody helped you out? 

Rosie 
Three weeks, till my will was broken, and I 
stopped caring much. I hadn't any money to in- 
terest Jurgen. 

HiLDEGARDE 

Did you do a kindness for Madame too? 

Rosie 
No; I was a green little stenographer come to 
the city to earn my living. 

HiLDEGARDE 

All alone? 



74 PEACH BLOOM 

ROSIE 

Yes, — like thousands of others. I quit my 
first place when I saw what the kindness of the 
head of the office was leading up to ; — I hadn't 
found another place by the end of the next week, 
and my boarding-house keeper turned me out. 
She suggested housework to fill in the time, and 
the employment agency sent me straight here. 

HiLDEGARDE 
Your hands look so pretty; — ^ how long have 
you been doing housework here? 

RosiE 
IVe been working here twelve months next 
August. S'sh! Till Vm sure it's Jurgen. . . . 
Skirts! (Slips into inner room, saying) Don't 
say you've seen me ! 

Shuts the inner door, except for a little crack, 
Dolly comes in, looking about sharply ; a hand- 
some, luxuriant young woman of twenty- 
three, out of a lower class than RosiE; 
shrewd, capable, strong in makeup, without 
delicacy. Handsomely and very sensuously 
dressed in clothes more exaggerated than 
Rosie's, though neifher^s gown is flagrant^ 



ACT II 75 

Dolly 
All alone, eh? I'm looking for one of the 
girls, — of course she's not in here? 

HiLDEGARDE 

{Lying bravely) No, I'm all alone. 

Dolly 
Because you see that's strictly against the rules 
of the house. {Looks at tea things) Didn't 
your tea go to the right spot? Madame wanted 
me to find out. 

HiLDEGARDE 

I didn't feel like it, thank you. 

Dolly 
/ could still eat if I knew I was to die tomor- 
row! {Goes to tea table and eats little sand- 
wiches and cakes with gusto) U'm'm'm, you 
lose! 

HiLDEGARDE 

What's your name, please? 

Dolly 
I'm Dolly; what are you going to call yourself? 

HiLDEGARDE 

My name's Hildegarde. 



76 PEACH BLOOM 

Dolly 
Drop It quick, and take something cozy. They 
always do in these ransom cases. (Laughs, then 
having finished sandwiches, etc., feels teapot) 
I'll have a cup if you don't object. You could 
be Kitty, — that's an attractive name, and we had 
a girl once who chose that; — or — {Looking 
her over appreciatively) Babe would fit you 
fine. Now which will you have? 

HiLDEGARDE 

Thank you just as much. I like my own name 
best. 

Dolly 

{Lifting a decanter from the tray) I'm glad 
they didn't forget the rum. {She sniffs it, then 
pours a little out in the spoon and tastes it sus- 
piciously) It's all right: — and half the fun of 
tea is the rum. {Fills up her cup liberally with 
the liquor) Your name? Why, 'twould never 
do. Madame allows no publicity in a ransom 
case. Babe or Kitty? Kitty or Babe? Both 
sound cute. Which do you think is prettiest? 

HiLDEGARDE 

Well, I think Babe is worse. But I won't have 
either ! 



ACT II 77 

Dolly 
Then you'll be our little Kitty. The other one 
was pretty too like you, — same color eyes and 
hair. She got to be real popular. And I'm tak- 
ing a fancy to you right off. And I think you'll 
get to be mighty popular too. 

HiLDEGARDE 

(Faintly) I'm much obliged. 

Dolly 
Don't mention it. Have a cigarette on me? 

HiLDEGARDE 

No, thank you. 

Dolly 
(Amused) Perhaps you haven't seen a lady 
smoke before? 

HiLDEGARDE 

They don't, — where I come from. 

Dolly 
(Seats herself leisurely on table, and crosses 
her knees) Well, — watch me! (Takes a ciga- 
rette from silver case, and smokes) You cer- 
tainly are comfortable here, — uh? — Got the 
A- 1 suite! 



78 PEACH BLOOM 

HiLDEGARDE 

That woman's already told me how much she 
paid for the mirrors. 

Dolly 

Yes, these are rooms one doesn't want to leave, 
— or in fact can't, — ^eh? Been taking a look 
'round? Like the windows? 

HiLDEGARDE 

It's a prison ! 

Dolly 

Sure ; — and you need it for some of these ran- 
som cases, — when they first come. {Laughs to 
herself) But take it from me, it's no earthly use 
to try and get out. It's never been done from 
this house ! 

HiLDEGARDE 

Never? 

Dolly 

Never. Madame's a keen one; she keeps no 
traitors in her house. So just accommodate your- 
self, and don't fuss. And it'll seem like home 
after a while. 

HiLDEGARDE 

Yes, but in my case there won't be any " after 
a while " ; that woman's promised to let me go 
home in about two weeks. 



ACT II 79 

Dolly 
Don't I understand all about it! — And two 
weeks will be gone in no time, and you'll have a 
jolly good time here if you obey the Madame, — 
but she's hard as nails on them that give her 
trouble. There was a girl like that — right here 
in this identical room — only three months ago. 

HiLDEGARDE 

What happened to her? 

Dolly 
She wouldn't listen to any advice, but kept on 
fussing, — did the baby act till it most broke up 
my appetite, and then one night, with one of the 
girls helping her, — a softie ! — she actually got 
down to the front hall, but u'm'm'm, — oh my ! 

HiLDEGARDE 
{Fascinated, like a little bird before a snake) 
But — what ? 

Dolly 
But — no further! And both she and the 
other girl got what was coming to them all right. 
{Makes a motion like sminging a whip) Z-zip ! 
— Peter's got some arm ! 



8o PEACH BLOOM 

HiLDEGARDE 
{Recoiling as if struck herself) Oh-h-h! 

Dolly 
And since that no other girl has wanted to get 
out. And that girl's father and mother haven't 
seen her yet. But you won't make any fuss, so 
nothing like that will happen to you. 

HiLDEGARDE 

Where is she now? 

Dolly 
Oh, don't ask me: a week later she somehow 
managed to get some poison, cyanide, smuggled 
in to her ; and then, — goodbye, little girl, good- 
bye! 

HiLDEGARDE 

How horrible ! But do all the girls who don't 
cause trouble get home as soon as their ransoms 
come? 

Dolly 

{Laughs heartily) Sure they do, and their 
folks are just so glad to see them, and tell the 
whole town the little strayed lamb has got back! 
But d'you know, lots of the girls get so struck on 



ACT II 8 1 

Madame and the gay life In our little burgh that 
you have to put 'em out when you want 'em to go ! 

HiLDEGARDE 

They don't even want to go home? 

Dolly 
Pooh! How many girls who got the chance 
to stay here, would want to leave all this ! There 
are only one or two ransom houses in the city up 
to our style, — some day you'll see our drawing- 
room downstairs, and meet Madame's swell 
friends; you'll have clothes from the best shops 
in town, servants to wait on you, and elegant food 
and champagne that's good enough for million- 
aires ! Tough luck for you that you're going to 
leave us in two weeks ! Any girl ought to be 
happy here if she isn't a fool and lets everybody 
get away with her money. That was the trouble 
with the other Kitty, — though she wasn't quite 
strong here {tapping her forehead)^ but then 
that's nothing uncommon in girls like her. Well, 
the other Kitty never could seem to get more'n a 
few dollars out of debt, — and ended dead 
broke — 

HiLDEGARDE 

Ended? 



82 PEACH BLOOM 

Dolly 
Last we heard she was in a hospital, — sick in 
the charity ward! How's that for a comedown I 

HiLDEGARDE 

I'm sorry, but I don't understand a quarter of 
what you've been saying; does that woman give 
the girls pocket money while she holds them till 
their ransom comes? 

Dolly 

{Shrieks with laughter) You're the biggest 
little greenie I've met in months! Sure, — ten 
cents a day, and an extra nickel for Sunday 
school ! But I must stop chinning and go tell the 
Madame how nicely you're getting on. You look 
lots more chipper. And you said that other girl, 
— her name's Rosie by the way, — wasn't here? — 
No use my looking into the other room? 

HiLDEGARDE shakes her head. 

Dolly 

I believe you. You wouldn't hand me a He, 
would you? {She starts out. Turns warningly 
at door) But don't forget the girl who fussed 
and never saw her parents again I 

She goes out and slides the holt. 



ACT II 83 

RosiE comes in from bedroom. HiLDEGARDE 
hurries to her. 

HiLDEGARDE 

Did you hear her, Miss Rosle? 

RosiE 
Some of it, — all I could through the door! 
She thinks I'm here ! 

HiLDEGARDE 
I'm going to wait the two weeks. 

RosiE 

Two weeks ! My God, child, you can't ! You 
can't wait till tomorrow night ! 

HiLDEGARDE 
She says the girl who helps will suffer — ter- 
ribly. 

RosiE 
I know it. 

HiLDEGARDE 

Oh-h-h, Rosie, — you were that other girl! 
You shan't do it again! 



84 PEACH BLOOM 

ROSIE 
I'll risk It, because I know if you don't get out 
tonight you'll wish you'd never been born. 

HiLDEGARDE 

Why? 

ROSIE 
Get up your courage now and say you'll take 
your one chance. {Nervously) Jurgen's got to 
come soon, or we'll be caught together! 

HiLDEGARDE 

I can't. It isn't only for myself now, but for 
you — 

RosiE 

Listen hard, for I've got to tell you what I 
wasn't going to, and hoped you'd get out before 
you had to learn here. All this ransom talk is 
a lie, — It's just a blind to lead you quietly up to 
the slaughter, — you've been stolen for something 
else! 

HiLDEGARDE 

Something else! For what? 
ROSIE 

For slavery! 



ACT II 85 

HiLDEGARDE 
{Incredulously) Slavery! You're joking, 
Miss Rosie, there isn't any slavery in our coun- 
try nowadays! 

Rosie 
Yes there is, and be quiet while I tell you. It's 
slavery that ruins you body and soul. The kind 
from which you can never raise your head, never 
go home. 

HiLDEGARDE 
There isn't anything my father and mother 
wouldn't take me home after! 

Rosie 
Lucky girl, — if you're right! Most parents 
won't have a girl back. But you might be too 
ashamed ever to go. Tonight's your only chance. 
If you stay you can never get back to the girl you 
were before ! 

HiLDEGARDE 

What do you mean? 

Rosie 
They'll sell you to men, — to man after man ! 

HiLDEGARDE 

Sell me to men? 



86 PEACH BLOOM 

ROSIE 

Yes; each man in turn owns you absolutely. 
Anyone that woman sends up has bought you for 
so many dollars. 

HiLDEGARDE 
{Thoroughly frightened) Bought me, — for 
what? You're driving me wild! 

RosiE 
Don't you understand yet? — Oh, I hate to tell 
you ! It's to make you his slave to his worst na- 
ture, — here with you alone. And there is no 
help for you, no matter how you suffer, and 
loathe him, and nearly die of shame ! 

HiLDEGARDE 
I can only guess, — but it can^t be that! 

RosiE 
{Lowering her voice) Little one, — do you 
understand what being a wife means? 

HiLDEGARDE 
Yes, my mother has told me that, but you can't, 
— you can't mean — ! 

RosiE 
It's like that which you and I are here for, — 
for man after man, — hundreds of 'em! 



ACT II 87 

HiLDEGARDE 
{Aroused and terrified, hut only half believ- 
ing) No! No! Men can't be so horrible! 

RosiE 
Oh, yes they can, — and more than you'd be- 
lieve. 

HiLDEGARDE 

(Stricken) I never dreamed there was any- 
thing like that in the world. 

RosiE 
It's one of the great Instincts of life; beautiful 
in happy homes I suppose, where It means love 
and children, but brutal here; and In the places 
lower down the scale, — just beast-like ! 

HiLDEGARDE 

I can't believe it, I can't! — My mother never 
told me anything about such an evil. 

ROSIE 

True with thousands of girls who get caught 
by It! 

HiLDEGARDE 

(Sobbing) Why didn't my mother tell me! 
Mother, Mother, why didn't you tell me? 



88 PEACH BLOOM 

ROSIE 

So now you will go ? 

HiLDEGARDE 
Yes, yes. And you come too, come home 
with me ! 

RosiE 
(Pleased) I, dear child! I can't, — it would 
more than double the risk. 

HiLDEGARDE 

You must. It's your one chance too. 

RosiE 
My life's broken now; — it can't be mended. 
I'm too old to begin. 

HiLDEGARDE 

Why, you can't be much more than thirty? 

RosiE 
(Smiles faintly) Not quite twenty, child. 
One loses youth fast here, — especially if one 
never yields her real consent. 

HiLDEGARDE 

But are all the girls for this wicked business 
caught like you and me? 



ACT II 89 

ROSIE 

Oh no, some are willing enough, like Dolly, 
and I've heard Madame began that way; one kind 
of pressure or another brings lots of others, — 
feeble-mindedness, and hunger, and getting be- 
trayed by the man you love, — and oh, lots of 
ways ; but even that doesn't supply enough for the 
demand, so there's a regular business of hunting 
girls down! And to some of the hunters it's a 
kind of a game! {Goes to door to listen) That 
man isn't back yet ! 

HiLDEGARDE 

I'll never rest when I'm safe till I get you out 
too, dear kind Miss Rosie. I can't see why you'd 
risk so much for me? 

Rosie 

What made me first want to help you was that 
telephone call I listened to. There's a reason 
for your being undisturbed tonight — you're be- 
ing saved, as I was. 

HiLDEGARDE 

Saved? 



90 PEACH BLOOM 

ROSIE 

Saved for a Mr. Flint, '' Gussie Flint," as we 
know him, Madame's star caller. He likes new 
girls, and will pay for them ! 

HiLDEGARDE cries out in terror. 

RosiE 
Bull-necked, stout, mean eyes; I thought as I 
listened; *' He'll have no mercy on that new girl, 
— he had none on me." And after him you'd be 
anybody's, — whom Madame would receive. 

HiLDEGARDE 

{Outraged) But where are the police, that 
such things can happen? 

ROSIE 
Yes, — where are they? 

HiLDEGARDE 
Wouldn't it make any difference that a police- 
man saw me walking with this woman? He 
looked hard at me, and ought to recognize any 
description of me. 

RosiE 
He could forget it. He knows he'd be broken 
if he mixed up in the concerns of a house of this 



ACT II 91 

class. But It's not him that I hate so much, — 
it's the higher-ups who grow fat off the blood 
money of us girls ! It's a system that's got its 
chains on us, and behind the system are the mil- 
lions and millions of good people who don't know, 
and don't want to know why or how we live, — 
and die. 

HiLDEGARDE 
Not a single nice person can have the slightest 
idea of all this, or he'd be fighting it. 

RosiE 
Why most of the men who come here are from 
very nice families, — that way we're far luckier 
now than later; and all have to be rich. These 
luxuries you see here, — d'you suppose they're for 
you and me? They're for the guests who are ac- 
customed to them at home and in their clubs. 
. . . What is that Jurgen doing? Oh, if we 
should get caught! 

HiLDEGARDE 
But a man from a nice family would help a girl 
out who'd been trapped? 

RosiE 
I begged about twenty, — in the first few weeks, 
— and did I get out? Even If Madame's system 



92 PEACH BLOOM 

here wasn't too strong for that kind of an escape, 
every last one of her friends is afraid of publicity, 
— how he would enjoy having his relatives learn 
of his coming here, — or his wife, — or perhaps 
his children? The very last whom I begged to 
help me — and wasn't he a sympathetic young 
man ! — was a ringer ! 

HiLDEGARDE 

A ringer! What's a ringer? 

RosiE 

A ringer's a man whom Madame sends up to 
pose as a caller, but really to find out if you're 
hoping to get away, and are distressing her friends 
with your pleading. {Passing her hand across 
her forehead) I don't want to remember what 
happened after he told Madame, — May God 
damn his soul! . . . Forgive me, child! I just 
forgot you were here as I felt it again! 

HiLDEGARDE 

{Running to her and taking her hand) Oh, 
poor, poor Rosie ! Was it after a ringer that the 
girl you tried to help get away, took the poison? 



ACT II 93 

ROSIE 
No, it was after she'd waited week on week 
for her friends to find her. Then she slipped the 
druggist's boy a hundred dollars to steal some 
cyanide for her, and she divided with me. . . . 
We planned to take it together, but I lost my 
nerve and she went alone. Here's the half she 
gave me, safe in here, — {fingering her locket) 
enough to kill me two or three times over in- 
stantly, — it's my greatest treasure ! 

HiLDEGARDE 

Do you still plan to use it? 

RosiE 
If things get too hard, or when I have to leave. 

HiLDEGARDE 

Have to leave ? — Just what that Dolly said. 

RosiE 
Madame prides herself on her fresh, attractive 
girls. Your time comes, and the door opens out 
for you. Then it's down, and down, and down! 
But I'll take this, and not wait for the county hos- 
pital or the river. 

HiLDEGARDE 
{Broken down) Suppose we fail tomorrow! 



94 PEACH BLOOM 

ROSIE 

Stop that! Keep cool, and don't let on to 
Madame or Dolly. 

HiLDEGARDE 

I never was afraid all through before ! 

RosiE 

Stop crying, Honey, — we'll get you out on 
time. And then when I do pass along, I can feel 
I've helped at least some one. 

HiLDEGARDE 
{Taking a resolution) Miss Rosle, if we 
can't get out, will you give me half what you've 
got in your locket? 

RosiE 
(Taken aback) Are you sure, dear, you want 
It? 

HiLDEGARDE 
Please, please. If you pity me ! And before to- 
morrow night! 

RosiE 
If anything should go wrong, I mightn't be able 
to get It to you. It would have to be now. 



ACT II 95 

HiLDEGARDE 

Oh, give it to me, Miss Rosle, — give me half I 
Won't you please? 

RosiE 
{After a pause) Yes, I will. {She opens her 
locket and divides with HiLDEGARDE) Here 
then, for God knows I wish somebody had given 
it to me when I stood in your place! {Steps 
sound outside, and the holt is withdrawn) Hide 
It quick ! 

HiLDEGARDE puts it into her jacket pocket. 
RosiE slips into the bedroom again, and closes 
the door tight, just before Madame opens 
the main door and comes in. She is carry- 
ing a beautiful, sensuously colored kimono, 
and satin slippers and stockings to match. 

Madame 
{Gives a sharp glance about the room) Been 
crying? {Looks at empty tray and smiles) Fm 
glad It hasn't spoiled your appetite, — that's al- 
ways a good sign. {Lifts the decanter, almost 
empty) Why you're quite a little toper, my 
dear, — who'd have thought it to look at you ! 
And here's something to bring the smiles back. 
Look at this beauty, and cunning little low slip- 
pers to match! I've just been choosing them 



96 PEACH BLOOM 

from a salesman, or I'd have been up before. Did 
you ever see anything so lovely and rich looking? 

HiLDEGARDE 
{Remembering Rosie's caution not to betray 
herself) The colors are gorgeous. 

Madame 
I'm glad you like them, — they're for you, my 
dear. Well, take off the coat now and try the 
kimono on. 

HiLDEGARDE 
{Retreating and putting her hand in jacket 
pocket to keep poison safe) Oh no, thank you. 

Madame 
Don't be so coy, — a kimono won't bite ! 

HiLDEGARDE 
I don't want any presents of clothes. 

Madame 
{Laughs) Don't worry, dearie, — you'll pay 
me for them later. Come, I want to see how my 
girlie will look. 

HiLDEGARDE 
Thank you ; — I like my own clothes best. 



ACT II 97 

Madame 
I'll hang your suit up in my own cedar closet, 
so it'll be nice when the ransom comes. Please: 
— take it off, my dear. 

HiLDEGARDE 
I'd rather keep it on. 

Madame 
All night? How I would feel, if I thought 
you were so uncomfortable ! 

HiLDEGARDE 
I'm sure I wouldn't be comfortable in those, 
thank you, so please take them back. 

Madame 
{Starts toward bedroom) Fll just lay them on 
a chair for you in the other room. 

HiLDEGARDE 
{Quickly going to her) Oh, please don't 
trouble, I will keep them since you think it's best. 

Madame 
No trouble at all. Besides I want to see that 
everything — {Goes into inner room) I 
thought so ! Dolly's not often on the wrong trail I 



98 PEACH BLOOM 

{Leads Rosie firmly by the arm, hack into main 
room) Now, Rosie, why did you come into this 
room? 

Rosie 
It was early, and there wasn't any work for 
me, and I thought the new girl might like a little 
cheering up. 

Madame 
Dolly and I can do all the cheering of her she'll 
need. 

Hildegarde 
{Trying to help) Wasn't it kind of Miss 
Rosie to come? 

Madame 
Too kind. ... By the way, Rosie, how'd you 
get through a pretty solid door, and leave it still 
bolted on the outside! I'll have to hire you out 
as a spirit to a clairvoyant! 

Rosie 

{Affecting carelessness) Oh, someone came 
along and saw it unbolted and fastened it. 

Madame 

I'll inquire. Of course you weren't putting up 
any game on me? 



ACT II 99 

ROSIE 

No, Madame. 

Madame 
It's not healthy, you know. 
Dolly comes in, 

Dolly 
What ! Our good, dependable Rosie In here ! 
And our sweet-faced new little girl told me, " Tm 
all alone ! " Dear me, where will you end, Kitty, 
If you start telling lies so soon? 

Madame 
(In a purring voice) Rosle, a few more little 
affairs like this, and I really can't keep you! I 
don't want trouble makers in my house, espe- 
cially when the bloom, you know, isn't quite what 
it was. Tell me, what have you been talking about 
In here? 

ROSIE 

About the ransom, and how I hadn't any money 
when I came, and so I couldn't get my ransom. 

Madame 
H'm'm'm, — that sounds smooth as velvet ! 
There is an uncertain knock at the door. 



loo PEACH BLOOM 

Madame 
Please see who's there, Dolly. 

Dolly 
{Opening the door part way and peering out) 
Lord! Is that you, Kitty! 

Kitty 

{Her voice heard through the open door) Yes, 
I must see Madame, Dolly. 

Dolly 

She's too busy. Give me your message, Kit. 

Kitty 

{Despairingly) I've got to see Madame! 

She pushes in quickly. KiTTY, though only 
twenty -five is a total wreck; faded hair and 
eyes; hollow-faced; emaciated; looks con- 
sumptive; a feeble form of a woman, hardly 
conceivable to have once been unusually fresh 
and pretty. Her finery hangs loose now on 
her shrunken figure, looks tawdry and of ex- 
tremest mode of previous year. She has 
rouged liberally, trying to look healthy and 
fresh and young. On the verge of a mental 
breakdown. Has a bad cough. 



ACT II loi 

Madame 
(Staring at he?') How'd you ever get In! 

Kitty 

I told Peter you'd sent to see me. 

Madame 
That was cool ! 

Kitty 
Take me back! 

Madame 
You? — here/ 

Kitty 
ril work for nothing but my board! 

Madame 

You couldn't earn It; did you expect us to wel- 
come you back? 

Kitty 

I was welcome enough for three years till work- 
ing for you brought me to the hospital and swal- 
lowed up my last dollar. Have some pity on 
what you've done I 

Madame 

PIty'd land me In the poorhouse. You'd better 
run along, Kitty. 



I02 PEACH BLOOM 

Kitty 
I'm half starved and awful weak still. Won't 
you even help me? 

Madame 
{Taking a hill out of her chatelaine hag) I 
never was mean, — here's five dollars to give you 
a lift; — ^but don't ever come back begging for 
more! 

Kitty 
Five dollars ! You hand me this rag when I've 
earned hundreds of dollars for you week after 
week, and was the biggest money getter you ever 
had! 

Madame 
{Quietly) Dolly, take her out. 

Dolly 
{Going over to her) Did you find 'em real 
attentive when you'd been transferred down to the 
charity ward? Like their brand of champagne? 

Kitty 

Laugh away now, curse you ! But your turn 

will come, like me, hustling in the dives and 

streets, supporting a low-down cur who beats you 

up when your earnings fall low! Ha! Ha! 



ACT II 103 

Ha! I'll meet you some day, Dolly, on the 
street! 

Dolly 
Shut up ! 

Kitty 
I'm sorry for you, Rosie, you always were nice, 
but your looks aren't what they were, so save 
your money, If you can keep any from these buz- 
zards I {Waving her arms at Madame) If 
there's any justice, you she-devil, you'll rot in hell 
along with the men back of you ! 

Madam goes quickly toward her, but Kitty 
slips by and gets before Hildegarde. 

Kitty 

{Shrieking) You're a new one, are you? 
Well, just remember me while you're enjoying the 
good things, — it won't be long! 

Dolly pulls her toward door. 

Madame 
{In soft voice) Dolly, — call Peter! 

Kitty 

{Suddenly subdued) Don't, don't call Peter! 
I'm sorry, — I'll go out quiet. 



I04 PEACH BLOOM 

HiLDEGARDE 
(Who has looked on speechless runs and gets 
out her necklace from the cabinet, and rushes to 
Kitty) Here, take this, poor girl, and sell It, 
so you won't be hungry ! 

Kitty reaches out her hand, but Madame takes 
hold of HiLDEGARDE, restraining her. 

Madame 
{Taking necklace from Hildegarde) I'll 
keep this till you need it. 

Kitty 
Oh-h-h ! 

Dolly 
{Pulling Kitty along, till she disappears 
through the door, her hand still outstretched for 
help) Ugh! Suppose a caller should catch 
sight of you ! 

Madame 
{Ignoring HiLDEGARDE) Rosie, your room's 
the best place for you ! And I'll ask you once 
more what you really came in here for ! 

Madame and Rosie go out, and the bolt is shot. 

HiLDEGARDE left alone, covers her face with her 

hands; then raises it, thinks, takes the poison 

out of her pocket, puts it in the envelope 



ACT II 105 

from her hag^ then listening^ hides it far 
down the crease of a puffy easy chair. 
The door opens very softly and JuRGEN comes 
in, with his fingers on his lips, looking about. 

JURGEN 

Where's Rosle, Miss? 

HiLDEGARDE 
Oh, she was nearly distracted because you 
didn't come. 

JURGEN 

Madame sent me out on an errand. It wasn't 
safe for me to come before; anyway I knew 
Rosle'd never snitch on me, even if anything 
should go bad. Where is Rosie? 

HiLDEGARDE 
She's been taken by that woman to her room. 

JURGEN 

H-u-u-u-h! Madame caught her here ! {With 
quick suspicion) Did anybody say anything 
about me? 

HiLDEGARDE 

No. Will she do anything to hurt Miss Rosie? 



io6 PEACH BLOOM 

JURGEN 

How do I know? She'll lock her up for a few 
days sure, anyway. 

HiLDEGARDE 

{Startled) Lock Rosie up for a few days! 
Then you'll come up at four o'clock and slip the 
bolt for me? Oh, you will! 

Entreatingly. 

JURGEN 

{Astounded) Me? . . . Think I'd touch the 
job without Rosie managing this end of it up here ! 
— Nix I 

HiLDEGARDE 
Oh, don't fail me ! I know what kind of place 
this is now ! And I'm sure my father and mother 
will give you anything you ask, — anything. 

JURGEN 

It's in the afternoon paper what they did to a 
feller I knew who helped a girl make a getaway. 
The Government needed him for a witness . . . 

Shudders. 

HiLDEGARDE 
What happened? 



ACT II 107 

JURGEN 
When the gang got wind of it, one of 'em fol- 
lowed him all the way to the Coast, and — 
( Crosses his throat significantly) And what good 
did the money he got for helping that girl out do 
hint? 

JuRGEN Starts for the tea table and begins to 
gather up. 

HiLDEGARDE 

Do help me ! You'll never regret it 1 
JuRGEN shrugs his shoulders, and turns his back 

on her, as he puts things on tray, making a 

clatter. 

HiLDEGARDE runs tO JURGEN, just as MaDAME 
stealthily comes in. HiLDEGARDE clutches 
Jurgen's arm beseechingly. 

HiLDEGARDE 

For money you will help me out of this hell? 

Madame 
(HiLDEGARDE turns and sees her, as Madame 
glides over to her. Madame boxes Hildegarde's 
ears) I'll make it hell for you if you try any 
games on me ! Do you want me to call Peter for 
you, my dear, — now? 



io8 


PEACH BLOOM 




HiLDEGARDE 


N 0-0-0 ! 





Madame 
But I will, — if you're not good. ( To JuR- 
gen) What are you doing? 

JURGEN 

Come to get the tray, Madame. 

Madame 
What was it I heard Kitty saying just now about 
getting out? 

JURGEN 

I hate to snitch, but I ought to tell you she was 
beggin' me to do something which I was informin' 
her was against your rules. 

Madame 

But you — hinted — that money came before 
rules ? 

JURGEN 

I was just tellin' her no amount o' money could 
make me forget the duty I owe you. 

Madame 
Noble, — if true. 



ACT II 109 

JURGEN 
{Subserviently, trying to win hack favor) An* 
that I couldn't be no party to help her make a get- 
away ! 

Madame 
So it was that! ( To Hildegarde, in a soft 
voice) And now, what have yoii got to say 
about all this, dearie? 

Hildegarde 
Nothing. 

Madame 
What about the locksmith, Jurgen ? 

JURGEN 

Said he'd be here first thing tomorrow morn- 
ing. 

Madame 

I thought I sent you out to hurry him up ! You 
may go now. 

(Jurgen starts out. Madame calls after 
him) Why, don't forget the tray you came for! 
{She waits in grivi silence for him to take it out) 
Now you won't see your kind friend, ^* Miss 
Rosie " for some while. And there'll be a new 
lock here tonight, — if I know my business; — I'll 
telephone myself! But don't think this means a 



no PEACH BLOOM 

new chance to work somebody. When the lock- 
smith comes, you'll be safe in there {pointing to 
the inner room), with the key turned. And you 
may talk all you want to through the keyhole, for 
I'll be right here on the other side to answer you, 
dearie. . . . I've a feeling that these high spirits 
of yours won't last through tomorrow I 
She goes out and holts the door, 
HiLDEGARDE goes over to the main door and 
listens; comes hack in despair. She gets out 
the envelope of poison, falls on her knees he- 
fore the big chair, clasps her hands over her 
head, 

HiLDEGARDE 

Oh Father, oh Mother, oh God, I will take this 
in time ! 

Curtain 



i 



ACT III 

A little before midnight of the following day; a 
clock on the mantel showing the time. The 
same room of Madame's house. Electric 
lights lighted y with curious colorings and 
shadows. 

HiLDEGARDE in the richly colored kimono Ma- 
dame had brought her the day before^ is crouch- 
ing with her head against the back of a chair. 
Her hair has been elaborately dressed in the 
latest mode J and is ^' way up." 

Madame, exquisitely gowned, comes in with a 
lovely evening dress over her arm. HiLDE- 
GARDE jumps as she hears the door open. 

Madame 
Don't start so, girlie, — it's only me. Who'd 
you think It was? 

HiLDEGARDE 

I didn't know. Everyone seems to have the 
right to come In and out of here except me. 

izz 



112 PEACH BLOOM 

Madame 
Oh, come out of the dumps! {Opens door. 
Voluptuous dance music comes from below) 
Doesn't that elegant music get into your blood at 
all? Well, if you behave yourself, you'll be al- 
lowed downstairs with the others some day soon. 
{Shuts the door; coming close as Hildegarde 
shrinks away) How pretty Dolly fixed your hair. 
She's a clever one, — most as good as our pro- 
fessional. Some day you'll have her. And 
there's the manicure girl besides. Oh, you'll live 
in fine style here with me. 

Hildegarde 
So Kitty said last night. 

Madame 
{In her soft voice) You make it hard for me 
to treat you nicely! But you'll be learning what 
good manners are before you're much older. In 
fact you'll begin tonight. 

Hildegarde 
Tonight 1 

Madame 
Now. There's someone just come in who's 
crazy to meet you. 



ACT III 113 

HiLDEGARDE 

{Retreating^ and with hands flung out in pro- 
test) No! No! No! Give me one more day ! 

Madame 

Why, a little company will do you good, and 
make you forget how lonesome you've been all 
today. 

HiLDEGARDE 

For God's sake telegraph my father, and get 
money for me, since it's money you want from me I 

Madame 
Who said, — money? I spoke of a caller, and 
have brought you a beauty of a dress. And by 
the way, I can't quite make out what Rosie told 
you here yesterday. But listen to me : — if you 
think you know more than you do, — just forget 
it! My friend who's coming expects to find a 
little girl who understands nothing. . . . But you 
wouldn't make trouble. We'll be good friends 
yet, my dear. Now go in and put on the dress. 

HiLDEGARDE 

{Sobbing) I can't! I can't! 



114 PEACH BLOOM 

Madame 

{In gentle voice, hut raising her hand as if to 
strike her again) I don't want to give you some- 
thing that will make you cry! Now have this 
dress on before we come back. Take it in there, 
and do please have a smile on your face when you 
come out, my dear. 

She forces the dress on Hildegarde, pushes 
her in, and shuts the door. Madame starts 
toward main door, when there comes a knock, 
followed zvithout waiting by " Flint," en- 
tering in evening dress. He's stout, bull- 
necked, overfed, mean-eyed, a certain type 
of nouveau riche. 

Madame 
Oh, Mr. Flint, I was just coming to get you. 



Flint 

Thought I'd drift up, — can find my way round 
here pretty well, — eh, old girl ? 

Madame 

{Laughs subserviently) You've such an unus- 
ual sense of humor, Mr. Flint. 



ACT III 115 

Flint 
Want to hear a secret? — I wasn't born with 
my humor, — it's an accomplishment! {Looks 
about the room) You're certainly a clever one 
for keeping the tone up. Room all redecorated 
I see . . . that's the way to make It pay. 

Madame 
I call that a real compliment, Mr. Gussle. 

Flint 
One almost feels as if it was his own place. 

Madame 
That's what makes all you gentlemen want to 
come again. 

Flint 
Yes, that and the kind of girls you have, always 
young and healthy, and refined looking and speak- 
ing. Where Is she? 

Madame 
Prinking. She'll be ready In a moment. 

Flint 

You said she was young? 



ii6 PEACH BLOOM 

Madame 
Wait till you see her! 

Flint 

And uncommonly pretty? 

Madame 
Daint}^'s a rosebud, — the minute I laid eyes on 
her I thought, — '' There's a girl to satisfy even 
our Mr. Gussie." It was one of those lucky 
chances, — meeting her, — that you can't help tak- 
ing! 

Flint 
And she walked right along with you, you said, 
innocent as anybody could want! 

Madame 
{Laughs) And holding her umbrella so care- 
fully all the time over my head I 

Flint 

You're a wonder! 

Madame 
That sum I spoke of over the phone yesterday 
was all right? 

Flint 
Seven hundred's a trifle steep, — for an old ac- 
quaintance. 



ACT III 117 

Madame 
Remember what a quiet house you're in. 

Flint 
I'm not likely to forget, — when I help pay for 
the quiet. 

Madame 
Well, if you had to pay the wages of all the 
men I have to keep here, and double rent, and 
double everything, you'd know it took a good head 
to keep in front of the game. 

Flint 
Not to mention the cost of maintaining a highly 
protected industry! 

Madame 
(Grimaces) The collector was around this 
afternoon, — they've raised on me again! It's 
cost a fortune these twenty years to be able to 
guarantee no interference with my concerns, or 
publicity to my guests. 

Flint 
What do you care? — The fortune hasn't come 
out of your pocket. 

Madame 
Oh, I know the men who come here aren't 
afraid of spending. 



ii8 PEACH BLOOM 

Flint 
Well, I won't be, if she's all you said she was. 

Madame 
You'll think you never saw such a peach. 

Flint 
With the bloom all on yet, — eh? 

Madame 
She's the most bewitching little innocent you 
ever saw. She knows pretty nearly nothing, — 
doesn't imagine what she was brought here for! 

Flint 
My style ! Telephone me again whenever you 
get one like that! 

Madame opens door into bedroom and goes in. 

Madame 
I thought I told you to put that dress on I 

Flint 

{Soothingly) Oh, never mind the dress! 

HiLDEGARDE comes rushing in in kimono, throw- 
ing of Madame's grip, determined to get 
the poison. Flint is in the chair in which 
it is concealed. HiLDEGARDE stops, baffled, 



ACT III 119 

then suddenly resolving, throws herself he- 
fore him on her knees. 

HiLDEGARDE 

Have mercy ! Have mercy ! Help me ! Help 
me out of here ! She stole me ! She said It was 
for ransom, but I know now for what loathsome, 
degrading things ! 

Madame 
You don't know what you're talking about I 

HiLDEGARDE 
{Ignoring her) No, no, you can't be so low 
and vile ! 

Flint 
(Sneering) What? So this Is the peach 
bloom all on? She doesn't know anything? 

HiLDEGARDE 
If you have a sister, a mother, you can't, oh 
you won't, touch me I 

Madame 
Be quiet! 

HiLDEGARDE 

For your mother's sake say you'll help me! 



I20 PEACH BLOOM 

Flint 
Damn your impudence, — I won't stand any 
more of that kind of talk I What you need's a 
good breaking in ! 

HiLDEGARDE 

If you try to touch me, I'll kill myself, and 
you'll have to answer for my death. I'll find a 
way before you can get out of the room, you 
coward. 

Flint 

(Sneering to Madame) Things like this 
won't improve your business ! 

Madame 
{White with anger, and jerking HiLDEGARDE 
to her feet) I never expected this, but I know 
who we have to reckon with ! 

Flint 
Ughl She disgusts me! {Waving HiLDE- 
GARDE away) I simply don't want to see her 
again. 

Madame 
( To HiLDEGARDE) Go into that room, — and 
wait for me. 

She pushes Hildegarde in and shuts the door. 



ACT III 121 

Flint 
{Furious) I don't suppose she really meant 
that suicide talk, — but I'm not taking any chances 
of getting mixed up in a thing of that kind. 

Madame 
She's got nothing to kill herself with, — she was 
just scared. And I swear I didn't think she'd 
caught on to anything, — 

Flint 
One more such entertainment as I've had to- 
night would mean goodbye from me ! That sui- 
cide talk and — {Mimicking Hildegarde) 
" If you have a sister, a mother! " 
Starts to go. 

Madame 
Oh, Mr. Flint, you won't go like this ! We've 
always pleased you before. Why not see Dolly? 

Flint 

No; I'll go to the Baths instead. 

Madame 
Do stay and see Dolly! You're such good 
friends. She'll make you forget this ungrateful 
girl's whining. 



122 PEACH BLOOM 

Flint 
H'm'm'm, a ride with Dolly mightn't be so rot- 
ten. Drove my car over myself. 

Madame 
{Rings hell) Splendid. Dolly loves to ride. 

Flint 
All right, — I'll take her. 
JuRGEN knocks on door, and comes in. 

Madame 
Tell Miss Dolly to come here right away. 
JuRGEN goes out. 

Flint 
{Vindictively) Why don't you bring Mr. 
Jones up here? Her yarns {nodding toward in- 
ner room) wouldn't bother him, you know. 

Madame 
I'm not keen for it, but — {with tightened 
lips) it might be the best way to bring her to 
terms. And when she's tamed down she'll be a 
great money getter! She's got those womanly 
looks the men care more about than any other 
kind. By the way, your friend's able to pay what 
we agreed on for you? 



ACT III 123 

Flint 
He's able enough. A tip now for past services. 
He's well worth catching for a regular guest, 
though he hasn't been around in the past. 

Madame 
What? Not been round at all? 

Flint 

No : so I'm initiating him as a good fellow to- 
night. It'll be a great joke to tell on him, — to 
the men. 

Madame 

{Laughs) Your sense of humor is a lively 
one, — and no mistake. 

Flint 
My humor gives you a good business chance if 
you're clever. 

Dolly comes in in a rich evening gown. 

Flint 
Hel-lo Doll! Feel like a good long ride to- 
night? 

Dolly 
No thanks, Gussie, not in the rain. 



124 PEACH BLOOM 

Flint 
The storm's over, and the moon's out, — it'll 
be great. 

Madame 
Do go, Dolly, — it'll be lovely, — light on the 
river and all that — 

Dolly 
Got your chauffeur waiting? 

Flint 
Driving myself, — can let the speed out that 
way, my girl. 

Dolly 
I know, but I'm a bit leery of speeding, Gussie. 
You know last time I said never again without 
your chauffeur. He never goes over sixty! 

Flint 
{Exasperated) Very well, if you can't trust 
me. ... It won't be my loss. 
Starts to go. 

Madame 
{Quickly and low to Dolly) Make up to 
him! {Nodding toward other room) She^s 
made him mad! {Aloud) Dolly, think how 
pleasant 'twill be, — real romantic ! 



ACT III 125 

Dolly runs over and catches Flint's arm as 
he is going out, 

Dolly 
(Coaxingly) I'll go anywhere you like, dear 
old Gussie ! 

Flint 
(Still sulky) Don't know if I care about it 
now. 

Dolly 
Yes, you do too! (Gives him a kiss) Wait 
a jiff till I get my things. 
Runs out. 

Flint 
(Stirred by the kiss, — calling after her) I'll 
help you on with your cloak, — and better take 
your furs ! 

He follows her out. 

Madame rings the hell, which Jurgen answers 
immediately. 

Madame 
You or Francis assist the gentleman who's rest- 
ing in the dining-room up here. 
Jurgen goes out. 

Madame with firm tread crosses to Hilde- 
garde's door and opens it. 



126 PEACH BLOOM 

Madame 

Put on that dress this minute, and if you should 
ever feel like making another scene, take this to 
remember. 

Madame goes in. There is a piercing scream 

from HiLDEGARDE. 

There comes a knock; Madame hastens out, 
shutting inner door, as Flint returns. 

Flint 
Say, but weVe hatched up a ripping plan! 
Dolly 'nd Pre going to motor down the coast for 
a few days; I don't know just where, but wher- 
ever it is, 'twon't be any Quaker meeting! 

Madame 
Pm more than anxious to oblige you, Mr. 
Flint, but really I need Dolly especially, — this 
new girl's a kind of hard proposition for me to 
manage without her. 

Flint 
Dolly's crazy to go now, and of course PU make 
it worth your while all right; but if you aren't 
willing — 

Madame 
{Pacifyingly, as she sees him turning sulky 
again) Very well. And you're making it worth 



ACT III 127 

Mistress Dolly's while too, I warrant, if she has 
turned so eager. 'Twon't be many years before 
she's able to start a tidy little establishment of 
her own. 

Flint 
She's such good company and enjoys things so, 
— you don't mind it if she is a smart business 
woman. 

Madame 
I won't stand in her way when the time comes, 
though of course the less competition, — 

Dolly comes in, with a suitcase pasted with 
hotel posters. Has handsome furs and mo- 
toring clothes; looks elated. 

Dolly 

Approve of our daisy little spree? Babes at 
the seashore stunt! 

Madame 

You were right to please Mr. Flint, and I can 
trust you both absolutely. 

Dolly 

Sure you can, — he brought me back alive 
last time, didn't he? And he's promised to make 
it a whole week again I My! won't the girls be 
green tomorrow when they hear! 



128 PEACH BLOOM 

Madame 

I'll tell them it's a reward for being good. 
You've been a comfort to me, Dolly, ever since 
you came to me. 

Eric comes in, in evening dress and overcoat; 
hat a little on one side; he is intoxicated, he- 
wildered, unsteady, Francis, a footman 
in livery, is supporting him. He takes of 
Eric's hat and coat and lays them on the 
sofa. 

Madame 

Here, Francis, take this suitcase and put it in 
Mr. Flint's motor. 

Dolly 

And there's another grip just inside my door. 

Francis goes out. 

Eric sinks into a chair, and looks about dizzily. 

Flint 

Now, Jones, — 

Eric 

{In thick, unrecognizable voice) Jonesh? — 
Oh, yesh, — Jonesh here, I 'member, — ha I ha I 



ACT III 129 

Flint 
We two are going out of town for a little vaca- 
tion for a week or so, Dolly and I. Look you 
up when I get back. 

Eric 

AVIght. 

Flint 
You'll be taken care of here in good shape, as 
comfortable as your club. 

Eric 
I c-can look after myself; an' tha' dinner of 
yoursh wash not t-too much for me, L-lippley, my 
boy. 

Flint 
(Sharply) You've got my name wrong, — it's 
Flint. 

Madame 
We never think of taking advantage of little 
things we may overhear about our callers, Mr. 
Flint. 

Eric 
(Gazing at him) Wonderfu' man to shtart 
out l-like thish, L-lippley, — F-flint, — when you 
g-got 'way with moren' any two of the resht of 
ush. 



130 PEACH BLOOM 

Flint 
{To Dolly, taking her by the arm) Hurry, 
we've got to run around for my stuff before we 
can start, you know. {To Eric) Good luck, 
old man. 

Dolly 
Ta! Ta! Mr. Jones. Goodbye, Madame. 
And don't be too soft on our new Kitty I 

Madame 

Trust me! Au revoir! You and Dolly have 
a lovely trip, Mr. Gussie. But take good care 
of my girl! 

Flint and Dolly go out gaily laughing. 

Eric 
F-flint, eh? Tha' man's name used to be Lipp- 
ley. D'you s'posesh his father knows it's F-flint 
now? 

Madame 
{Laughs) No, I suppose he doesn't. 

Eric 
Wh-wha'd you think! I've never b-been in a 
p-place of thish ch-character before, — k-kind of 
funny for a man of thirty, — d-don't you think so 
yourself? 



ACT III 131 

The thought seems almost to sober him for the 
moment. 

Madame 
It is a bit unusual. 

Eric 
{Suspiciously) Thish not 'nother new g-girl 
like Lippleysh one? Never w-would do that 
low-down mean t-trick! 

Madame 
Oh no, indeed, Mr. Jones, but she's our pretti- 
est, — not quite twenty yet ; and sometimes the lit- 
tle witch does like to pretend it's her first experi- 
ence; some men like that, but I hope she won't 
bother you with it! Don't pay any attention if 
she tries that story on you I Or any other ! . . . 
She must be ready now {She turns of the main 
lights, leaving only the lights on the table, soft 
and curiously colored shades. Room in scarcely 
half light. Madame opens the door of bedroom, 
and goes in. Her voice is heard within) Come 
on, dearie! . . . What! . . . Still some spirit 
left? . . . There's simply no use resisting. . . . 
I'll hook it, — and here's your jewelry. (Ma- 
dame returns, firmly holding HiLDEGARDE by the 
wrist. As she lets go, the wrist shows white, and 



132 PEACH BLOOM 

then red from the grip with which MADAME has 
held it. HiLDEGARDE is in the evening gown, 
lovely, but very low cut and clinging to her; she 
has her pearl necklace on. HiLDEGARDE cannot 
raise her eyes from the floor for shame) Mr. 
Jones, this is our Kitty. Now if you want any- 
thing, please ring. There are always men serv- 
ants at hand. I'll send you up some extra choice 
champagne, and you two can get acquainted over 
it. 

Eric 

Had all I want, b-but send it up for K-kitty, — 
if she likesh it. 

Madame 
Kitty dear, — remember ! 

Gives her a meaning look, then, after a careful 
scrutiny of Eric, she purses her lips as if to 
say '^ Drunk! '^ goes out, and turns the new 
key in main door on them. 

Eric 
Aren't you c-coming over to t-talk to me, li'l 
d-darling? 

HiLDEGARDE 
{Making her last appeal, hut too much ashamed 
to look up) Mr. Jones, I was stolen by that 



ACT III 133 

wicked woman, and am a prisoner here. Help 
me to go home! 

Eric 
Funny, — jusht wha' she t-tol' me you'd say. 
C-come give me one kiss ! 

HiLDEGARDE 

This is true, help me out, or V\\ kill myself 
right now ! 

She takes her resolution, and goes past him 
quickly to the large chair. Gets envelope of 
poison out. Eric has risen uncertainly from 
his chair as she passes him, and holds out his 
arms to clasp her. But she eludes him. 

Eric 

You remin' me of shomebody, — c-can't think 
now who 'tis, — an' your v- voice t-too. 

HiLDEGARDE Opens the envelope, and takes the 
poison out. She has the table between her 
and Eric. 

HiLDEGARDE 
{Firmly and without looking at Eric) 
Listen to me! You and the men like you who 
come here are murderers! But I won't wait for 
a slow death, and if my father and mother ever 
know, they'll be glad I didn't wait — 



134 PEACH BLOOM 

Eric 

Shtop ! Shtop ! Theresh some mishtake ! 

HiLDEGARDE 
What else can I do? {She lifts the poison 
to her lips, and raises her eyes defiantly to look 
at the man) Eric! You! You! 

Sinks into a chair, and covers her face with her 
hands. 

Eric 
Itsh not Hildegardef 

HiLDEGARDE 

Yes, It's Hlldegarde. 

Eric 

{Coming unsteadily over) Hil'egarde, my li'l 
one, — wha'sh this? {Gently takes the cyanide 
out of her hand, looks at it) Not p-polson? 

HiLDEGARDE 
Yes, I couldn't see any other way out. 

Eric 

{Gradually sobering up through shock, hut still 
badly confused) I mus' think. I thought you 
were at your b-birthday party t-tonight. 



ACT III 135 

HiLDEGARDE 
I was Stolen yesterday, and kept here for a ter- 
rible Mr. Flint. 

Eric 
(Beside himself) F-flint, — oh, my God! 

HiLDEGARDE 

I begged him on my knees to help me, and all 
he did was to curse me and turn away in disgust. 

Eric 
Thank God ! Thank God for that ! I d-didn't 
know you were missing. I g-got back t-to the city 
late tonight, an' w-went out to the end of a d-din- 
ner. They must have kep' thish out of the p-pa- 
pers. 

HiLDEGARDE 
Take me home now! 

Eric 

I mus' think, — I mus' think how. 

HiLDEGARDE 

Why just tell her who you and I are. 

Eric 
I'd never g-get you out that way. 



136 PEACH BLOOM 

HiLDEGARDE 

What! 

Eric 

{Walks unsteadily to door, and tries it) D-did 
that woman lock us in? 

HiLDEGARDE 

Yes, and there's no other way out, — Fm in 
prison. 

Eric 

{Desperately) If my head were only c-clear! 
. . . Running water in there? 
Nods toward inner room. 

HiLDEGARDE 

Yes. 

Eric 

Then sVuse me, — I'll dowse my head clear. 
{Goes out for a moment, to return with clear eyes, 
and gradually pulls himself together) Now for 
our plans; — you're right — {Examining win- 
dows) Everything secured fast. You'd better 
sit there in case we're interrupted. 

Pointing to chair across table. 



ACT III 137 

HiLDEGARDE 

Why can't you tell her who I am and take me 
out? 

Eric 
I'm a total stranger to her, and the man who 
introduced me has gone on a spree, — no reaching 
him. And then I came here, — not myself — as 
you know. 

HiLDEGARDE 

If I hadn't looked up in time I ^ 

Eric 
Don't! Don't! Little girl! 

HiLDEGARDE 

But if you promised a great big ransom? 

Eric 
No; if I started on that line, she'd take you 
from me at once. It's not only losing you, but 
publicity; there's nothing she'd be afraid to do to 
avoid that, and she'd be shielded. . . . The po- 
lice I 

HiLDEGARDE 

Oh, a girl has told me! 



138 PEACH BLOOM 

Eric 

Yes, if I tried them, they'd first deny there was 
such a place as this one. By the time I could get 
back and in here with a search party, a rumor 
would have reached this woman, — and you'd be 
gone, — who knows where f And against the 
word of one man who came here drunk, there'd 
be half a dozen witnesses to swear there'd never 
been such a girl here at all! 

HiLDEGARDE 
{In terror) Don't leave me! 

Eric 

I wouldn't dare go out of this room for a min- 
ute without you ! 

A knock at the door, and the key is turned. 

Eric 
Take care! Pretend you never saw me be- 
fore ! 

Madame comes in, followed by Francis with 
a small table, and Jurgen with a tray and 
champagne. 

Madame 
Set the table there, closer, — Francis, and put 
the lights over on it. 



i 



ACT III 139 

Francis arranges things comfortably^ draws 
the chairs up, and Hildegarde and Eric sit 
opposite. Francis goes out. 

Madame 
Getting on all snug and cosy, Mr. Jones? 

Eric 
Yesh . . . didn' t-take ush long to g-get 
'cqualnted. {To Hildegarde) Have a glash 
with me, Kitty! {To Jurgen) Push th' young 
lady'sh chair closer. 

Madame 
That's enough, Jurgen. 
Jurgen goes out. 

Madame 
( To Hildegarde, who is huddled in her chair) 
Thaw out, my dear, — it's a spring night! 
Eric pretends to make love across the table, 
Madame, satisfied, starts to go. 

Madame 
Well, Kitty's certainly a sweet little one, isn't 
she, Mr. Jones? 



I40 PEACH BLOOM 

Eric 
You're all jush lofely angels! 
Madame goes out and locks the door. 

Eric 
Ugh-h ! — Poor little girl, — forgive me ! 

HiLDEGARDE 

Oh, how can we get out? There's an awful 
man named Peter at the door, and I don't know 
how many others. 

Eric 

Here's our one chance. {Draws out his re- 
volver) Lucky for us I was going down to the 
docks right after the dinner, and see how things 
had been getting on. Then I — forgot all about 
going. . . . We've got to figure out a way of 
making this good. {Counting up on his fingers) 
Doorman, one; two footmen here, three; I've an 
impression of at least one other; that makes four 
besides Madame, and whomever else she can call 
on. And most surely there are firearms In this 
house ready for just such an emergency. 

HiLDEGARDE 

What chance have we against such odds? 



ACT III 141 

Eric 
Only one chance; to take them by surprise and 
each of us to keep our nerve. 

HiLDEGARDE 

I'll try to. 

Eric 

We've got to get this door open, and if pos- 
sible reduce their number by one. Let's see how 
this plan would work; I'll ring for the footman, 
then sit here at the table, and you stand with the 
revolver against the wall there. {Points to left 
of door) When the man comes, cover him from 
the first second he gets in. I'll call to him, so 
he'll look my way and not see you. . When he's 
well into the room slip over, close the door, and 
say, " Hands up ! " Then we'll go out together, 
— when the real struggle will come ! 

HiLDEGARDE 

And then you'll take the revolver? 

Eric 

No, it's as powerful with you as with me. 

You're a fine shot, and I know you'll keep cool. 

Without the revolver you'd be helpless, and my 

strength must be made to count for us. Now go 



142 PEACH BLOOM 

in, dear, and get your own things on, — quick 
please. 

HiLDEGARDE 

They took them away from me this morning. 

Eric 
Devils ! Never mind, slip on my coat, dear. 
( Takes it from sofa and holds it for her) And 
the little necklace. . . . {His voice breaks, then 
he looks her in the eyes) Hilda, let no one get 
near you, or you might lose the revolver. Keep 
close to me, covering our rear. How many 
flights, — I forget? 

HiLDEGARDE 

Two, — and we're at the back. 

Eric 
If we get safely to the outside door, hand me 
the revolver, and you go out first. {Giving her 
money) Here's half; if I'm stopped, don't wait 
a second, but fly to Cousin Laura's, — know the 
way? 

HiLDEGARDE nods. 

Eric 
On no account a cab, and don't stop anywhere ! 
Take a street car if one comes along, and hurry I 



ACT III 143 

HiLDEGARDE 

Yes! 

Eric 

Don't shoot unless you must, but if you have 
to, — shoot straight ! And be sure to save the last 
shot ... to use if you don't get past the door, — 
for yourself! 

HiLDEGARDE 

Yes, yes, I won't be afraid to do that! 

Eric 
(Handing her back the poison, which she puts 
into the overcoat pocket) Here's the poison, — 
if anything happens to the revolver. 

HiLDEGARDE 

They won't take me alive again. But you, 
Eric? 

Eric 

If you must use it, I'll be already past both- 
ering about, darling child, — just one of the men 
who disappear. {He tests the chairs, and 
wrenches a good club out of the leg of one) 
This'll do finely . . . ready? 

HiLDEGARDE 

{Taking station at door) Yes, Eric. 



144 PEACH BLOOM 

Eric 
Then here goes ! 

Rings the bell, gets into chair, with club hid- 
den across his knees, raises glass in left 
hand and assumes expression of drunken dis- 
gust. 
The key is turned, and Madame stands in the 
doorway. 

Madame 
Anything wrong, Mr. Jones? The footman's 
waiting in the room across, and may be delayed a 
moment. 

Eric 
Noshinks wrong 'cept your champagne, — it's 
fiercesh ! 

Holds glass shakingly out toward her. 

Madame 
{Suspiciously, and not coming in) Where's 
Kitty? ... I thought I heard a crashing noise. 

Eric 
K-kittysh — K-ittysh a'right. {Waves glass 
toward inner room) Fixshin' her hair. But 
this ish not my bran' ! C-come t-tashte cheap 
shtuff yourself! 



ACT III 145 

Madame 
{Displeased and coming in) Why, Mr. Jones, 
we serve nothing but the highest priced on the 
mark — what's happened to that chair! 

HiLDEGARDE Steals noiselessly across on the 
heavy rug, and closes the door. Madame 
turns quickly at the sound. HiLDEGARDE 
covers her with the revolver. 

HiLDEGARDE 

Hands up ! 

Madame 
{Glaring into the revolver) Oh, so this is — ? 

HiLDEGARDE 

Not a sound, or I'll shoot. Eric? 

Eric 

Quick now! 

He goes over, and opens door, and goes out, 
partly followed by Hildegarde, who keeps 
the revolver pointed at Madame. A door 
is heard to open across the hall and one 
hears the sound of laughter and clinking 
glasses. Eric pushes Hildegarde in again, 
and closes the door. 



146 PEACH BLOOM 

Eric 

Narrow escape! 

A breathless silence for a minute^ as the three 
stand motionless. Then Eric cautiously 
opens the door again. All seems quiet. 

Eric 
Now! 
Eric, followed by Hildegarde, who keeps 

Madame covered to the last second, goes 

out, Hildegarde speaking as the door 

closes. 

Hildegarde 
The key*s in, — turn it! 
Madame, the moment the door is closed, 

springs to the wall and rings furiously. 

Rushes to door, pounds, and calls. 

Madame 
Jurgen ! Quick ! Let me out ! 

Jurgen 
{Outside, and shaking the door) Whereas the 
key? 

Madame 
Catch them, — Kitty's getting off ! 



ACT III 147 

JURGEN 

{Calling) Francis! Peter I Giovanni I 
There's a getaway! 

Madame 
Do for the man, nab the girl ! The drunk's 
stealing Kitty for himself! 

There are two almost simultaneous shots. 
The steps are heard of someone running up- 
stairs. 

JURGEN 

{Outside) Madame? 

Madame 
{Remembering the quiet of her house, she 
whispers sharply through the keyhole) I must 
see to things. 

JURGEN 

The key's gone . . . and Peter's wounded. 

Madame 
{Furious) But the girl and the drunk? 

JURGEN 
Peter landed one shot in him. 



148 PEACH BLOOM 

Madame 
You fool! — Have you got 'em both? 

JURGEN 
Naw, they both made a getaway I 

Curtain 



ACT IV 

A month later, mid-afternoon in May. 

A spacious, charming living-room in the Mor- 
rises' home at Clarendon, a small college 
town. Opposite at the left a broad open door- 
way gives a view of the main hall and stair- 
way from the first turn, where there is a win- 
dow. Opposite at the right, French windows 
open on a loggia and a lovely garden in the 
colors of spring. Beyond there is a glimpse 
of college towers and a low range of blue hills 
in the distance. On the right side of the room 
a door leads into the Professor's study. 

One hears the outside door opened. PROFESSOR 
Miles Morris hurries into the hall, carrying 
a newspaper. He is a tall man of forty-six, 
with a sensitive, intellectual face. He looks 
quickly into the living-room, goes out, and calls 
up the stairway. 

Miles 
Jinny, Jinny, I want you ! 

Goes into the living-room and walks up and 
down. 

149 



I50 PEACH BLOOM 

HiLDEGARDE covies into sight down the hall, 
wearing a dainty spring house dress. Her 
hair is up. 

Miles 
{Before seeing who it is) Jinny, for heaven's 
sake, what do you think has happened? 

HiLDEGARDE 

{Flies to him) Daddy, dear, what has hap- 
pened? 

Miles 

Oh, it's you, Honey; why — er — nothing's 
the matter. 

HiLDEGARDE 
{Leaning over) Oh — in the paper? {A 
thought suddenly comes to her; she asks anx- 
iously) It's nothing bad about Rosief 

Miles 
{Putting the paper away in his pocket) That 
girl Rosie? No, why should there be? She's — 
er — she's doing finely. 

HiLDEGARDE 
I keep thinking about her, and of how beauti- 
fully you carried out your promise to me, dearest 
Father, and had her rescued from that terrible 



i 



ACT IV 151 

place. Though it makes me shudder to think how 
that rescue society when they did break in, al- 
most failed to find Rosie! {She wipes his face 
off carefully with her handkerchief, and kisses 
him) How you've hurried. 

Miles 

I want to see your mother right away ! 

HiLDEGARDE 

{Turning to go) I'll find her. 

Miles 
And alone, please, Hildegarde. 

HiLDEGARDE 
{At the door making a little face at him, and 
laughing) And nothing's happened, — eh, Mr. 
Papa? 

She goes out and is seen running lightly up the 

stairs. 
Miles sits, takes the newspaper out of his 
pocket, and studies it eagerly and with con- 
cern. 
Mrs. Morris is seen hurrying down the stairs. 
She comes in hastily. 



152 PEACH BLOOM 

Mrs. Morris 
Miles, dear, — what is it? Hildegarde says 
'' nothing's happened, but poor Daddy's all up- 
set " ! 

Miles 
Jinny, — see this, — it's all out in the papers ! 
Gives her the newspaper. 

Mrs. Morris 
{Breathless) What — what's all out? 

Miles 
Look there, — yesterday Rosie told on the wit- 
ness stand all about Hildegarde's capture, impris- 
onment and escape ! 

Mrs. Morris 
{Reading) Not all? Not her name? 
Sinking down in chair, and hurriedly reading 
over the front page. 

Miles 
No, Rosie testified that none of them had 
learned it. 

Mrs. Morris 
Thank God for that! I've lived in terror ever 
since the trial of that creature, that Madame, be- 



ACT IV 153 

gan. (She has been looking through the paper. 
Says jubilantly) But, Miles, there Isn't a single 
clue to who the girl is! 



Miles 
If there had been, the newspapers would be 
tracking Hildegarde down now, and publishing 
her name to the world. 

Mrs. Morris 
Put the paper with the others, dear, where 
Hilda can't see it. We must do everything to 
make her forget. 

Miles puts paper in drawer, locks it, and puts 
the key in his pocket. 

Mrs. Morris 
It's enough for her to know that Rosie is out, 
and being cared for by us, — she mustn't learn 
about this trial, — or that her story has become 
known. 

Miles 
If they should learn her name, they'd bring out 
the whole story, — to the last detail — and think 
how it would be twisted ! 



1^4 PEACH BLOOM 

Mrs. Morris 
It would blight Hlldegarde's life ! Oh, I can 
never forgive myself for not having told her in 
time to save her from her frightful experience. 
And as I think it over, it was only one of jifty 
things that might have happened to her through 
the ignorance I kept her in. 

Miles 
If we only had other children, we'd not fail 
again. But don't worry: this story won't get out 
now, Beloved Wife, — think how few know it: 
only Walter and Laura Prescott, and we three 
here. For that unknown man who pitied her and 
helped her out will never betray her. 

Mrs. Morris 
He had some good in him, depraved though he 
was. . . . And not even Eric knows! — I'm 
thankful. 

Miles 
Why do you suppose Hilda has changed to- 
ward Eric so? 

Mrs. Morris 
It is strange, — she never speaks of him, does 
she? 



J 



ACT IV 155 

Miles 
And you caught the rascal at Laura's only a 
month ago trying to make love to her! Do you 
suppose our little girl fears he has learned her 
story? 

Mrs. Morris 
No, IVe told her how Laura promised never 
to tell him. 

The doorbell rings. 

Miles 
We certainly are wonderfully fortunate, not to 
have had this secret escape. 

Eva, a trim maid, comes in with cards on a 
salver. 

Eva 
A lady asking for you, Ma'am, and the Pro- 
fessor and Miss Hildegarde. 

Mrs. Morris 
(Looking at cards) Show her in, — but never 
mind about speaking to Miss Hildegarde. 
Eva goes out. 

Mrs. Morris 
Martha Oakes ! What can she have come 
way up from the city for? It makes me uneasy. 



156 PEACH BLOOM 

Mrs. Morris goes to the door to greet Mrs. 
Oakes, who comes in, in traveling clothes. 

Mrs. Morris 
Martha, dear ! What a delightful surprise ! 
Your first visit ! 

All three greet each other warmly. 

Mrs. Oakes 
I'm awfully sorry to say, Jinny, that it's a legal 
matter I've come up here for, and to get your 
help about, — a case which Laura's husband put 
into the hands of our society, — the " Rosie 
Case." You see we decided after rescuing the 
girl and hearing her story that her case was so 
clear a one of white slavery that no jury could 
refuse conviction of this infamous Madame, — 
even under our lenient state laws. 

Mrs. Morris 
{Controlling herself, and speaking with polite 
interest) And — now ? 

Mrs. Oakes 
We're having the fight of our lives! The Ma- 
dame has amassed over three hundred thou- 
sand from the earnings of a long succession of 



ACT IV 157 

girls, which explains the brilliant lawyer who's 
defending her; but does not explain all the tricks 
and difficulties which have arisen from the very 
start. Powerful men from far in the background 
are protecting this keeper! 

Miles 
Hideous ! 

Mrs. Oakes 

The case is going to pieces, and we must have 
new testimony, or there'll be either a disagree- 
ment of the jury or acquittal : — but this morn- 
ing I got a clue which I hope will save the whole 
case! 

Miles 

A clue, — I congratulate you ! 

Mrs. Oakes 

You must have read in the morning's paper 
how this Rosie told a thrilling story of another 
girl who had escaped? 

Miles 

{Flustered) Why, — er — yes, I did glance 
at it. 



158 PEACH BLOOM 

Mrs. Oakes 
Early today a servant came to me, a footman 
named Jurgen, — whom the Madame had turned 
out of her house, accusing him of aiding this girl 
to escape ! He's after revenge. And in the hope 
it will help to convict the Madame, he has given 
me the name of the girl's father. 

Miles 
His motives would kill the story. 

Mrs. Oakes 
No, he told me the truth; oh, you don't 
know how badly I feel to tell you that I know 
that the other girl who escaped was — Hilde- 
garde ! 

Mrs. Morris 
Hildegarde! 

Miles 
{At the same time) Impossible! 

Mrs. Oakes 
Unfortunately I know the whole story. 

Mrs. Morris 

No ! No ! No ! 



ACT IV 159 

Mrs. Oakes 
Yes, Jinny, dear, I've got all the facts, how 
one dark, rainy Friday afternoon, — the very day 
I saw you at Laura's — the unsuspecting child was 
seized at the Madame's door, carried to an apart- 
ment, and locked in. 

Miles 
And you really credit this fabrication of a dis- 
charged servant from a place like that! 

Mrs. Oakes 
Please! Shall I tell you more? How Hilde- 
garde promised a ransom, — fifteen hundred dol- 
lars, and gave Jurgen her father's name and 
address, — your name, Professor Morris, and / 
knew the address, which had slipped his memory. 

Miles 
{Wildly) He might have got hold of my 
name, — I've written some books ! 

Mrs. Oakes 

Yes, Jurgen looks like a man who reads trea- 
tises on Greek Art! . . . The case is simply be- 
yond doubt. 

Miles 

Beyond doubt It's absurd ! 



i6o PEACH BLOOM 

Mrs. Oakes 
I have many other facts, if you must have 
them. How she was rescued unharmed the next 
day at midnight, by an unknown man. And then 
Jurgen gave me an excellent description of the 
girl ; — she wore a lovely pearl necklace, and — 

Mrs. Morris 
{Tearfully giving in) You haven't told this 
story to anyone, Martha? 

Mrs. Oakes 
No, Jinny. 

Miles 
Suppose this story were true, — why did you 
come here today? 

Mrs. Oakes 
We must have a witness to prove that Madame 
is an actual white slaver — 

Mrs. Morris 
You can't mean that you want to — ? 

Mrs. Oakes 
Yes, I've come to ask Hildegarde to go back 
with me, and to testify tomorrow morning. 



ACT IV i6i 

Mrs. Morris 
Put Hildegarde on the witness stand ! 

Mrs. Oakes 
{Strongly moved) Look how the matter 
stands today. Public interest is centered on this 
trial, and public opinion is waiting to be formed. 
If the case fails, all the slavers will receive di- 
rect encouragement to go on, and even honest 
people will say, *' That Rosie was just after black- 
mail, — such things don't happen ! " To lose 
now on such a clear typical case of white slavery, 
means to cripple the cause in this state for years 
to come. But with Hildegarde's striking testi- 
mony, this Madame would be sentenced. And 
more than that, public opinion would be so fired 
that it might force through our bill in this legis- 
lature. And then we'd have a penalty that would 
deter, — ten to thirty years behind the bars. 

Miles 
Hildegarde shall not go and ruin her life ! 

Mrs. Oakes 
But think how few girls we can ask to testify, 
— how few like Hildegarde come out unscathed! 



1 62 PEACH BLOOM 

Miles 
{Heatedly) Unscathed? Then you don'^t 
know the full story: how she knew almost noth- 
ing, and learned everything there, how she was 
reserved for a brute, who turned away disgusted 
when he found she was no longer ignorant, how 
she tried to escape, and was betrayed, her clothes 
dragged from her, and garbed in a most offensive 
dress, was struck and threatened, and then by 
mere chance was rescued by the next man, a 
drunken fellow, sobered by her story, just as our 
precious child was trying to end her life with 
cyanide. And it's that story you want her to re- 
hearse so it will be on everybody's tongue ! 

Mrs. Oakes 
But remember her escape in time is one case 
in a thousand ! You were marvellously fortunate, 
Jinny, marvellously. That very dress would 
bring the matter home to the jury. 

Mrs. Morris 
That dress went into the Prescotts' furnace! 

Miles 
Have you got a daughter, Mrs. Oakes? 



ACT IV ■ 1631 

Mrs. Oakes 
No, — but — 

Miles 
If you had, you'd fight as we will to keep her 
young life from getting into the mire, — again ! 

Mrs. Oakes 
If I could help these girls more than now in 
this warfare by laying down my own life, I'd do 
it gladly. 

Mrs. Morris 
I'm sure you would, Martha. . . . And I'd 
give up my life for my daughter I 

Mrs. Oakes 
Won't you even let me see Hildegarde, to put 
the case before her? 

Mrs. Morris 
Why, Martha, how could we ? When weVe do- 
ing our best to help her forget it all ! And it 
wouldn't do any good, — she would never do what 
her parents didn't wish her to. 

Mrs. Oakes 
{Defeated. Rising) And you'd rather see 
this she-wolf freed, and no new law come, — you'd 



1 64 PEACH BLOOM 

rather see these pitiless men and women — these 

fiends — flourish — 

HiLDEGARDE appears, coming up the garden 
path; she is wearing a pretty garden hat, car- 
rying a basket of dainty spring flowers. 

Mrs. Morris 
We do sympathize with you and anything 
else — 

HiLDEGARDE comes to the French windows. 

Mrs. Oakes 
— and see them consume other girls like Hilde- 
garde and Rosie ! 

HiLDEGARDE 
{Coming in) Why, Mother, are you getting 
news from Rosie? 

Mrs, Oakes 
{Quickly) Your daughter Hildegarde? 

HiLDEGARDE 

Yes, — I'm Hildegarde. 

Mrs. Oakes 
Fm Martha Oakes. . . . I'm so glad to see 
you, my dear. 



ACT IV 165 

HiLDEGARDE 

Tell me about Rosie, Mrs. Oakes, tell me 
everything ! 

Mrs. Morris 

Hilda, dear, — please ! Mrs. Oakes is dis- 
cussing a matter of business just with your father 
and me. 

HiLDEGARDE tums obediently to go. 

Mrs. Oakes 
But, Hlldegarde, I want your advice too, and 
Rosle needs your help ! 

HiLDEGARDE 

Rosle? Help? I thought she was doing 
finely. Father! 

Miles 
{Pointedly) If we need you, dear, we'll let 
you know. 

HiLDEGARDE 
{Remaining, and sitting down) Father! . . . 
And now, Mrs. Oakes? Tell me, — everything! 

Mrs. Oakes 
The woman who kept Rosie in slavery has 
been arrested, and Is on trial ! 



1 66 PEACH BLOOM 

HiLDEGARDE 

Oh-h-h! That woman on trial! Mother, — 
did you know about it? 

Mrs. Morris 
{Reluctantly) Yes, but we didn't want you to 
get wrought up. 

Mrs. Oakes 
Now we fear she will get off scot free ! 

HiLDEGARDE 

How can she go free, when they've caught her ! 

Mrs. Oakes 
All our witnesses except Rosie have been 
bought or terrified into silence, and poor Rosie 
Is breaking down. We must prove this woman 
has held girls against their will for such a life, 
or she'll gtt off and begin the same business over 
again ! 

HiLDEGARDE 
{Springing to her feet) She shan't begin 
again. Fll be your witness! 

Mrs. Morris 
You're excited, — don't say such a thing, dar- 
ling! 



ACT IV 167 

Mrs. Oakes 
Splendid ! You can accomplish more good in 
this cause than any other young girl I've ever 
known. 

Miles 
Hildegarde, you shan't think of it! 

Mrs. Morris 

Daughter, you haven't any idea of what it is 
you're asking, — something no loving parents 
could ever permit ! 

Miles 

Hilda, dearest, you simply can't realize what 
it means to go before a courtroom crowded mostly 
with curious men, and be questioned and cross- 
questioned on such unspeakable things, to have 
your name and face and story spread wide 
in every newspaper. See this ! {He unlocks 
drawer, and gets out paper) . Look at today's 
paper; headlines half across the sheet, and three 
pictures of that unfortunate girl Rosie, — one 
sobbing on the witness stand, — broken down un- 
der cross examination! 

Hildegarde 
{After looking at it) Awful ! — Poor Rosle ! 



i68 PEACH BLOOM 

Mrs. Oakes 
The other witnesses are swearing that Rosie 
came there vokintarily! You are all we have, 
Hildegarde, between us and defeat. 

Miles 

Darling, there'd be false witnesses to swear 
that you too came there voluntarily! And that 
lawyer would do his worst to blacken your char- 
acter ! 

Mrs. Morris 

Yes, and, Hilda, many people, even right here 
in Clarendon, would never believe you had es- 
caped in time, and you could never, never live 
down the shame of it. If you married and had 
children of your own, the shame would still cling 
to you ! 

Hildegarde 

{After a moment's pause. Exalted) All 
right. Let people think what they please; — 
Mrs. Oakes, I'll go with you. 

Mrs. Morris 
Hilda, if you go down there, it will be some- 
thing your father and I can never get over; can 
never forget! 



ACT IV 169 

HiLDEGARDE 

Mother ! 

Mrs. Morris 

We'll bear the sorrow of this to our graves; — 
you're young, — you don't know what it means to 
you, and you can't guess what it is going to mean 
to us! 

HiLDEGARDE 

Oh, what shall I do? Mother, I can't hurt 
you ! I thought it was mostly myself who would 
get injured by testifying — 

Miles 
Don't go, Hilda ! — Stay with us ! 

Mrs. Morris 
{On her knees, with her arms out toward 
HiLDEGARDE) You're the only child I'll ever 
have; Hilda, I beg you, — I implore you! 

HiLDEGARDE 

{Running to her mother and putting her arms 
about her) I can't hurt my mother and my fa- 
ther! You see, Mrs. Oakes, I — I can^t go! 

She clasps her father's and mother^s hands, 
and the three stand together. 



I70 PEACH BLOOM 

Mrs. Oakes 
Rosle has stood up with her terrible testimony; 
but she's getting confused under this brilliant but 
vicious cross-examination, and her health has been 
utterly crushed, — partly, Hildegarde, because the 
Madame punished her the day after you got out, 
because Rosie warned you of your peril ! 

Hildegarde 
Oh-h, Mother, — think of it? Think of what 
I owe her ! — If she hadn't told me, I never could 
have escaped ! And now without me, all she has 
suffered will go for nothing! 

Mrs. Morris 
Think how your parents will suffer, daughter! 

Mrs. Oakes 
It isn't for Rosie or for the two or three peo- 
ple of us here that we must decide, it's for the 
multitude of girls who are being kept in igno- 
rance, who are calling to you to testify and to 
save them in time — to tell what you know ; to 
cry out from this witness stand and arouse their 
blind fathers and mothers! And the thousands 
of lost girls lying in unnamed graves in our own 
country, — if they had their voices they would cry 



ACT IV 171 

out to you to save the others in time! If you 
stay here, Hildegarde, some young souls will drop 
into the pit that you might have saved! 

Hildegarde 
Father, Mother, it's a bigger thing than any 
of us, — how can I stay here? I'll never be 
happy again unless I go and tell what happens to 
girls, — tell everything I know; — I won't be 
afraid to speak out! Oh, if you had seen that 
poor girl, that Kitty, her thin hand out for help ! 
Nothing can stop me now! I will go and help! 

Mrs. Oakes 
Time's everything. We can make the 4.57 ex- 
press and get down to the city tonight. 

Miles 
Hildegarde, I absolutely forbid It! 

Mrs. Morris 
(Beseechingly) Hilda/ 

Hildegarde 

It breaks my heart to disobey you. But I 
know it's right. Forgive me for the pain Vm 
causing you ! . . . I'll get my things, Mrs. Oakes, 
and be ready In less than ten minutes. 

She goes out and runs upstairs. 



172 PEACH BLOOM 

Mrs. Oakes 
Oh, rm sorry, sorry, this is necessary. 

Miles 
Can't we prevent this? 

Mrs. Oakes 
Not since she's determined to go. Oh, Jinny, 
there's no way out of this but the hard one of 
duty. Though I can never tell you how badly I 
feel. 

Mrs. Morris 
(Rises) Small comfort, Martha. I must get 
our things ready then, for her father and mother 
shall go with her. 

Sound of an auto coming racing up the drive- 
way. 
The doorbell rings. EvA appears at living- 
room door, 

Eva 

Mr. Hamilton, Ma'am, and he says it's most 
urgent. 

Mrs. Morris 
{Running to door and calling to him) Eric! 



ACT IV 173 

Eric 
Eric comes in; a had scar extends from his 
right cheek toward his forehead. 

Mrs. Morris 
{Greeting him with hands flung out entreat- 
ingly) Eric, Eric, come and help us! 
Sound of the auto going off. 

Miles 
{Shaking his hand warmly) Why, — have you 
been wounded? 

Eric 
A little accident, — some time ago. 
Eric advances into room, bowing without sur- 
prise to Mrs. Oakes. 
You, Mrs. Oakes, are up here to — ? 

Mrs. Oakes 
To get Miss Morris's help in this case. 

Mrs. Morris 
Eric, you don't know the ghastly story; — how 
Hildegarde — 

Eric 
Didn't you know I knew? 



174 PEACH BLOOM 

Mrs. Morris 
So Laura told you after all! . . . Help us 
now ! Martha is taking away our child and will 
use her as a witness in this Rosie case, — tomor- 
row! 

Eric 
I feared that, when I learned at the society this 
morning how Mrs. Oakes had started for Claren- 
don on a clue. 

Mrs. Oakes 
Surely you're in sympathy with my purpose, 
Mr. Hamilton, after all the splendid interest 
youVe shown in your visits to the Society in this 
case! 

Eric 
I caught the limited and motored forty miles 
back to prevent it if possible. But you're right, 
Mrs. Oakes. You've got to find another witness, 
or have this case end in a wretched failure. 

Mrs. Oakes 
Yes, and Hildegarde is the only one who'll dare 
to testify ! 

Eric 
But suppose I run down another, who could 
prove this woman a slaver, wouldn't you let Hilde- 
garde off? 



ACT IV lis 

Mrs. Oakes 
Another? 

Eric 
One of the men who visited there? 

Mrs. Oakes 
Persuade one of the men to ofer to testify to 
having gone there! — You can't mean it! 

Eric 
But I do. 

Mrs. Oakes 
IVe never met a man yet who'd willingly tes- 
tify to the kind of thing brave Hildegarde is 
eager to. 

Eric 
I know he will. 

Mrs. Oakes 
Who is the man ? 

Eric 
One of the men who saw her there. 

Mrs. Morris 
{Shrinking) That Flint? 



176 PEACH BLOOM 

Eric 
No, Flint went out on a wild ride with one of 
the girls that same night, — they crashed over a 
seventy-foot cliff, — a quick death. 

Mrs. Oakes 
You're sure this man saw Miss Morris there? 

Eric 
{In a husky voiced Yes, — the very drunken 
fellow who helped her out. 

Mrs. Oakes 
You're a born detective, Mr. Hamilton! And 
a man admitted to that exclusive house must have 
had standing, — wealth or social position. His 
story would make a sensation! 

Eric 
It would : — he comes from one of the older 
families. 

Mrs. Oakes 
I feel so sorry for my friends here that I'll con- 
sider deeply, Mr. Hamilton; — who Is the man? 

Eric 
He's before you. 



ACT IV 177 

Mrs. Morris 
(Recoiling) Eric, you can't mean — 

Miles 
(Hoarsely) Do you mean that you — f 

Eric 

Say what you please ; — nothing could be worse 
than what I think of myself. 

Mrs. Morris 
Oh,— Hilde garde! 

Mrs. Oakes 
It's very loyal of you, Mr. Hamilton, to offer 
to shield your cousin from appearing, but have 
you any proofs? 

Eric 
{Producing key) The key to the very room. 

Mrs. Oakes 

You might have received that from the man in 
question. 

Eric 

{Passing his hand across his scar) But I got 
this by being the man in question, — in the strug- 
gle at the door. . . . You see now, Mrs. Oakes, 
what I'm offering for her protection? 



178 PEACH BLOOM 

Mrs. Oakes 
(Slowly) I see: — the scarring of your good 
name and social standing, — a great price. 
( Turning to the Morrises, who are aghast) 
After all, Jinny; after all. Professor Morris, we 
mustn't forget you owe your daughter's life to 
Mr. Hamilton. 

Eric 
So you will take me, Mrs. Oakes, instead of 
Hildegarde ? 

Mrs. Oakes 
I can't tell, — I must think it over. 

Miles 
Virginia, we must talk this all over with Mrs. 
Oakes in my study as affecting Hildegarde, if — 
{Bowing to Eric) You will excuse us. {With 
a sudden impulse he puts his hand on Eric's 
shoulder) We appreciate this offer, Eric, — it's 
a manly thing. 

The three go out, into the study at right. 

Eric, who has risen with mechanically good 

manners as they depart, sinks into a chair 

with hands over his face. 

Hildegarde is seen coming down the stairs; 

then she looks through the doorway hesitat- 



ACT IV 179 

ingly. Has her suitcase , and is in traveling 
costume, with her hat on. 

HiLDEGARDE 

Mother? I'm going now. 
HiLDEGARDE comes in. She stops short as she 
sees Eric, who rises. 

HiLDEGARDE 

{Says in suppressed excitement) Eric! 

Eric 
Hildegarde ! . . . How IVe longed to see you 1 
I've written so many letters to you which have 
never gone; — I was too much ashamed. 

HiLDEGARDE 

I thought perhaps — perhaps — you'd write 
about why — about how — 

Eric 
I had no excuse to offer. 

HiLDEGARDE 
{As he turns his head, she sees his scar) That 
scar! On the way to Cousin Laura's that night 
you said the shot had only made a " scratch " ! 



i8o PEACH BLOOM 

Eric 
But for your nerve, that Peter's bullet would 
have gone through my brain! 

HiLDEGARDE 

I tried for his arm. 

Eric 
And hit like a sharpshooter, and spoiled his 
aim. 

HiLDEGARDE 

Isn't the world strange, — and terrible! I had 
never touched reality before. 

Eric 
Beautiful things can be real too, my child. 

HiLDEGARDE 
Child? I'm no longer a child. Why I'm old 
enough to help on this problem, — tomorrow ! 

Eric 

No! 

HiLDEGARDE 
And I want to work at this for a lifetime. 



ACT IV i8i 

Eric 
But don't crowd out the blessedly sweet things, 
— home and children, — and be left alone, — as 
I am. 

HiLDEGARDE 
Are you so lonely? 

Eric 
Yes, and I must grow lonelier, — parted from 
you. 

HiLDEGARDE 
You saved me, Eric, and I'm grateful to you 
for that down to the very bottom of my heart, 
but your going to such places cast my faith in you 
into the flames. 

Eric 
I will tell you something, — though it's poor, — 
it was the only time. 

HiLDEGARDE 
(Gladly) The only time! Oh, Eric, keep 
that true! For the sake of the years that have 
been! 

Eric 

I never dreamed you wouldn't tell your 
parents. 



1 82 PEACH BLOOM 

HiLDEGARDE 

I couldn't tell even them. You'd always meant 
so much to me. 

Eric 

{Deeply moved. Kissing her hands) Hllde- 
garde, my darling! Can you forgive? 

HiLDEGARDE 

Oh yes, — now. 

Eric 
And, — forget? 

HiLDEGARDE 

I wish I could ! But I don't see how I can — 
forget. 

Eric 
You're the very core of my life. The only 
sweet thing in it. 

HiLDEGARDE 

Don't, don't! I can't bear it. 

Eric 
Can't you try, — for the sake of the years that 
have been? 

HiLDEGARDE 

If only my faith would come back again! Ah, 
Eric, how I did worship you! 



ACT IV 183 

Mrs. Morris and Mrs. Oakes come in from 
the study. 

Mrs. Oakes 
Mr. Hamilton, I accept you as witness; Til tele- 
phone at once, and you'll appear tomorrow morn- 
ing. 

Eric 
Good! — Then Hildegarde does not go? 

HiLDEGARDE 
What's all this? — / not go? 

Mrs. Oakes 
My dear, Mr. Hamilton offers to testify in 
your stead, and what he'll swear to is just the 
testimony we need to convict that " Madame " of 
white slavery. 

Hildegarde 
Eric! {Turning to look gratefully at him) 
And can^t I help if I go too? 

Mrs. Oakes 
It wouldn't be worth the cost to yourself and 
your parents. 

Mrs. Morris 
Let me help take off your things, daughter. 
Eric, I thank you for saving my child's name . . . 



1 84 PEACH BLOOM 

Mrs. Oakes wants to start at once, and I've or- 
dered the car. 

Eric 
I'm ready. Good-bye, Jinny. Try not to 
think too hardly of me. 

Mrs. Oakes 
{Looking at her watch) I've just time to tele- 
phone my lawyer, — if I may? 

Mrs. Morris 
Yes, — let me show you, Martha. 
She takes Mrs. Oakes out through the hall. 

Eric 
Good-bye, Hildegarde. 

HiLDEGARDE 
{Runs to him, holding out both her hands) 
Oh, Eric! Dear Eric! I'm sure now my faith 
will come back! {Half laughs, half sobs) And 
I reckon it's just round the corner now! 

Curtain 



